# Single Round Contest:Vivaldi's Il GiustinoL DiDonato, Orlinski, and Bartolli



## Seattleoperafan (Mar 24, 2013)

As a Xmas present to you I present 3 exquisite versions of the incredibly beautiful aria Vedrò con mio diletto, and because there is no coloratura to speak of even Bartolli does a wonderful version. DiDonato's version is with a jazz combo but it works really well. Enjoy.


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## Seattleoperafan (Mar 24, 2013)

To make it fair I did not put Jakob Josef Orlinski's live version in the contest as his masculine gorgeousness is almost overwhelming but take a quick gander:



 He keeps in shape by breakdancing. ( Fanning myself).He is unique in countertenors in having a treble voice that sounds masculine at all times to my hearing.


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## Woodduck (Mar 17, 2014)

There's no essential interpretive difference between the performances of Di Donato and Orlinski. They both conform to a modern idea of Baroque style: lean and restrained as to affect, with vibrato more or less suppressed, with Orlinski exhibiting these qualities to a more extreme degree. Of the two I prefer Di Donato, mainly on the basis of vocal quality. Orlinski sounds _castrato_, which term I use not in its musicological sense but figuratively: his voice and style haven't a trace of natural sensuality - i.e., he's got no _balls._ I don't for an instant believe that this kind of precious crooning represents what people heard or wanted to hear in 1750. Di Donato's voice isn't exactly sensuous, but at least she sounds like a warm-blooded human.

Bartoli is a different matter. No less delicate and precise than the others, and in no way anachronistic, her variety of articulation and affect is wider, with effective variation of tone, attack and dynamics. The voice itself is unquestionably that of a woman, its tone warm, its vibrato giving life to the sound without being obtrusive. She is no slave to HIP notions of Baroque vocalism, yet still sounds completely at home singing with a fine "authentic" band.

Baroque art is highly, often extravagantly, expressive, and surely Vivaldi's audiences wanted to hear personality and passion in their singers. Bartoli is here the one who communicates those qualities to me.


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> To make it fair I did not put Jakob Josef Orlinski's live version in the contest as his masculine gorgeousness is almost overwhelming but take a quick gander:
> 
> 
> 
> He keeps in shape by breakdancing. ( Fanning myself).He is unique in countertenors in having a treble voice that sounds masculine at all times to my hearing.


Oh yes. Cute indeed.

Children should be seen and not heard.


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## MAS (Apr 15, 2015)

Strictly from an aural perspective, I’m in agreement with Woodduck - Bartoli has the goods. I’m glad I don’t have to look at her sing, whereas I’d love to look at Orlinski whether he’s singing or not. :devil:


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## Woodduck (Mar 17, 2014)

MAS said:


> Strictly from an aural perspective, I'm in agreement with Woodduck - Bartoli has the goods. I'm glad I don't have to look at her sing, whereas I'd love to look at Orlinski whether he's singing or not. :devil:


I think it's mainly executing coloratura that turns her into a spastic chicken. In legato stuff like this she looks quite human.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> There's no essential interpretive difference between the performances of Di Donato and Orlinski. They both conform to a modern idea of Baroque style: lean and restrained as to affect, with vibrato more or less suppressed, with Orlinski exhibiting these qualities to a more extreme degree. Of the two I prefer Di Donato, mainly on the basis of vocal quality. Orlinski sounds _castrato_, which term I use not in its musicological sense but figuratively: his voice and style haven't a trace of natural sensuality - i.e., he's got no _balls._ I don't for an instant believe that this kind of precious crooning represents what people heard or wanted to hear in 1750. Di Donato's voice isn't exactly sensuous, but at least she sounds like a warm-blooded human.
> 
> Bartoli is a different matter. No less delicate and precise than the others, and in no way anachronistic, her variety of articulation and affect is wider, with effective variation of tone, attack and dynamics. The voice itself is unquestionably that of a woman, its tone warm, its vibrato giving life to the sound without being obtrusive. She is no slave to HIP notions of Baroque vocalism, yet still sounds completely at home singing with a fine "authentic" band.
> 
> Baroque art is highly, often extravagantly, expressive, and surely Vivaldi's audiences wanted to hear personality and passion in their singers. Bartoli is here the one who communicates those qualities to me.


Regarding DiDonato and Orlinski's version being similar, she was an instructor of his at Julliard. I colored my listening to him by the live video performance where he physically is very involved in every phrase but which one might not "hear" when listening to him separated from his very physically passionate delivery of this gorgeous aria. I also might have voted differently is it hadn't been so long since I had a good date LOL.


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## Tsaraslondon (Nov 7, 2013)

DiDonato's version being with piano is not strictly comparable, I suppose. Her version is taken from a concept album in which she juxtaposes jazz and more classical fare, hence the use of a piano. I rather liked it and actually preferred her version to that of the handsome young countertenor, who, as Woodduck points out, sounds sexless and bloodless. Maybe, I don't after all much like countertenors, David Daniels always excepted.

I am not a Bartoli fan and I really can't stand her way with fast moving music, but here she is absolutely lovely and makes something quite special out of this aria. 

If I were to place them in order, it would be Bartoli, DiDonato, Orlinski.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> DiDonato's version being with piano is not strictly comparable, I suppose. Her version is taken from a concept album in which she juxtaposes jazz and more classical fare, hence the use of a piano. I rather liked it and actually preferred her version to that of the handsome young countertenor, who, as Woodduck points out, sounds sexless and bloodless. Maybe, I don't after all much like countertenors, David Daniels always excepted.
> 
> I am not a Bartoli fan and I really can't stand her way with fast moving music, but here she is absolutely lovely and makes something quite special out of this aria.
> 
> If I were to place them in order, it would be Bartoli, DiDonato, Orlinski.


I thought Bartoli would fare well with you guys. I love this aria!


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## nina foresti (Mar 11, 2014)

Why you do thees to me? (Ron Moody from _The Twelve Chairs_)
I am so conflicted.
The background music in Bartoli's is so hypnotizing to me that I want to plop DiDonato down there and let her sing with that particular accompaniment because otherwise they both did a superb job of heartfelt singing.
However, upon listening back and forth, back and forth to the two ends, I finally decided that Bartoli's was the richer sound of the two -- but only by a smidgen.


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