The lyrical work of Vivaldi remains paradoxically unknown-nbsp-: the extraordinary success met by a small number of concertos eclipsed a whole section of his compositions, including operas, which he spent most of his career. From 1713 to 1741, Vivaldi gave birth to a colossal work, preserved largely by the Turin Library: more than 450 manuscript compositions, mostly autographs. Orlando furioso , a heroic-magical drama performed at Teatro S. Angelo in Venice in the autumn of 1727, takes place at the exact half of Vivaldi's operatic career. Fourteen years earlier, in May 1713, Prete Rosso presented in Vicenza his first known opera, Ottone in villa . Fourteen years later, he died in oblivion after having vainly tried to have his last opera, The Oracolo in Messenia, represented in Vienna.
Thanks to the remarkable work of the librettist Grazio Braccioli, who has managed to preserve Ariosto's original work of poetic essence and humanist dimension, Vivaldi explodes the conventional scheme of dramma per musica , exploring the most varied musical forms. jostling the classic hierarchy of characters and superimposing dramatic actions, all conducted with remarkable efficiency. Nearly three centuries after its creation, one remains confused in front of the extraordinary musical and dramatic richness of the work, a dazzling piece which mingle all the existing forms of the sung theater.
The reconstruction of the opera necessitated an important preparatory work on the complex Turin manuscript, combining carefully calligraphed sheets with hastily scribbled pages with multiple insertions, fragments or entrenchments, as well as an irregular numbering of the scenes. .
Jacques Manet has finally made a keyboard version eagerly awaited by the singers, thus bringing to the reach of the greatest number a work in its complete version, as it was conceived in 1727 by Vivaldi.