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Vivaldi, Arnold, MacMillan and more

• As labours of love go, the French label Naïve’s Vivaldi edition, begun in 2000 and now notching up some 60 titles, takes some beating. The opera Il Tamerlano, performed by the Accademia Bizantina and directed by Ottavio Dantone, is the latest in the series, starring the baritone Bruno Taddia as Bajazet (by which name the 1735 tragedy is also known), countertenor Filippo Mineccia as Tamerlano and contralto Delphine Galou as Asteria. Mezzo-soprano Sophie Rennert (Irene) has the work’s best-known number, Sposa son disprezzata, in which she bemoans her fate as a spurned bride. Taddia puts high energy into his agitated Dov’è la figlia (Where is my daughter?), the strings of the Accademia Bizantina lithe and spirited in their busy accompaniment. Vivaldi wrote some of the arias, borrowing from elsewhere for others in the habit of the day. Performance standards are high, and even when interest dips a bit

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