Here are two versions of Vivaldi's Latin setting for soprano and orchestra of Psalm 113, Laudate pueri Dominum. One of them, with the soprano Magda Kalmar, has been available on an Hungaroton LP for the past ten years or so (not submitted for review) but is newly transferred to CD. The other, with the English soprano Lynne Dawson, recorded last year, is on CD and cassette only. Vivaldi set the text at least four times so far as we know—twice for choirs in due cori and twice for solo voices with orchestra. The occasion which prompted this beautiful setting is unknown though it has been suggested that Vivaldi composed it for a funeral at the Pieta in Venice; but the brilliance of the writing, the predominance of a major key and the spirit of both music and text argue against that. Vivaldi's inspiration mainstains a high level throughout the nine movements which comprise the work. There is plenty of contrast in colour and in mood with deeply reflective numbers, such as the ''Excelsus'' and the Gloria, with flute solo, sitting alongside vigorous movements like the ''Suscitans'', the ''Ut collocet'' and the radiant, coloratura ''Amen''. There are pleasing examples of word-painting, too, as for instance in the ''A solis ortu at occasum'' (from the rising of the sun unto the going down of the same) where ascending figures in the upper string parts and in the vocal line are intended to evoke the sunrise.
The two performances are very different from one another yet both capture the radiant character of the work. Dawson, in all but two of the movements prefers faster tempos than Kalmar and by and large I think her approach is the more effective in this respect. She also has an advantage in the support of period instruments with lighter articulation and a lower pitch—no small consideration in a virtuoso work of this kind. Yet, all this does not allow me to overlook the formidable artistry of Kalmar, whose warmly-coloured voice, impeccable intonation and agile technique bring a magic of their own to the interpretation. This is in no way intended as an invidious comparison between the two singers, since Dawson's account of the music is stylish and assured at all points in the score. Rather, perhaps, it tells us something of the quality of Vivaldi's inspiration that the music invites a variety of different approaches, as valid as they are satisfying. This is vintage Vivaldi to my ears and I would urge lovers of his music to avail themselves of one at least of these fine performances.
The Meridian CD is coupled with Vivaldi's beautiful setting of Psalm 127, Nisi Dominus, a piece hardly less substantial than the Laudate pueri, though probably more familiar to discophiles and concertgoers. The soloist is the alto Christopher Robson, who gives a sensitive, authoritative and polished performance which I very much enjoyed; but it is unlikely that Vivaldi would have had a male alto voice in mind when writing the work. More likely is it to have been composed for one of the women at the Pieta. The Hungaroton CD also features Kalmar in two fine Latin motets, In furore and Nulla in mundo pax sincera. Both have frequently been recorded in the past but seldom with voices of Kalmar's calibre. I am content to tolerate some rather middle-of-the-road orchestral playing for the sake of a voice and technique of this order. Both releases are well recorded—the Meridian in a particularly sympathetic acoustic. Full texts in Latin and English are printed in the Hungaroton booklet, but in English only in the other. Both releases are warmly commended.'