A century of divine praise in Italy by Eva Zaïcik and the Harmonic Poem

With this recording, Vincent Dumestre offers the listener a wide stylistic gap, between the laude spirituali of the very first Baroque and the flights of Vivaldi.

We will search in vain for a common thread in this program: what is the common point between the drones of Serafino Razzi (1531-1613) and the vocal virtuosity of Vivaldi? The text of the libretto speaks to us of a musical journey centered on the female figure, but is it really convincing? This aside, we can find a connection between all these masterpieces: the absolute beauty of this devotional music, served by an interpretation that is sublime in every way.

Let’s first talk about the oldest composers, who are also the least known. Razzi and Soto de Langa have in common to compose laude spirituali, popular forms linked to Marian piety, practiced in Oratorian circles. the anthem O Vergin santa which opens this program gives the strings the opportunity to mingle their diminutions with the fervent voice ofEva Zaicik. the Giesu diletto sposo which follows recalls the Spanish origins of Francisco Soto de Langa, with the accompaniment of the percussions and the bass of the colascione. When Vivaldi’s music arrives, with a Sinfonia al Santo Sepolcro, the change of atmosphere is radical. We have changed eras and styles, especially when the voice of the mezzo and the strings make an assault of virtuosity to evoke the warlike crash of the celestial trumpets in the motet. invicti bellate. Then we come back to Razzi with the laude Oh dolcezzawhere the angelic voice of Déborah Cachet echoes the chorus of three male singers for an effect of powerful celestial evocation.

After a poignant sinfonia funeral of Locatelli, written on the occasion of the death of his wife, it is the turn of the famous Nisi Dominus of Vivaldi, centerpiece which gives its title to the album. The warm and expressive voice ofEva Zaicik does wonders there, supported by an orchestra that melts as close as possible to the inflections of the voice. Already noticed in a Handel recital with Le Consort, the mezzo-soprano offers us here a beautiful dramatic intensity in the lowest register of her voice: suppleness of line, richness of timbre, great vocal agility, everything is at the service of a sustained discourse. Summit of the work, the Cum dederit is a great moment of emotion, where the bass of Eva Zaïcik’s voice is adorned with very controlled nuances. In the Gloria Patri, the dialogue with the viola d’amore of the excellent Fiona Poupard enchants us. And in the end, the excellence of the performers makes us forget the lack of coherence of this program.

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