Vivaldi, the Red Priest is an Italian film created and directed by Liana Marabini in 2009,[1] about the life of composer Antonio Vivaldi, who was also a Catholic priest. It shows his relationship with the world, the Church, his spiritual battles and his love for a woman. This co-production between the UK and Italy has two episodes of 90 minutes,[2] and intends to show the spiritual dimension of Vivaldi which is, according to the director, often ignored.[3]
Red Priest return to their roots as the world's most innovative and dynamic baroque ensemble with this blockbusting programme of favourites by masters of the period. Featured works include Bach's Brandenburg Concerto no.5, an Adagio by the same composer (as featured in the movie Truly, Madly, Deeply), a transcription of Vivaldi's famous 4-violin concerto, an oboe concerto by Albinoni and the. (composer Antonio Vivaldi) ' line in exam papers the wrong way ' is the wordplay. ' line ' becomes ' l '. ' in ' means one lot of letters goes inside another. ' exam ' becomes ' viva ' (short for 'viva voce', an oral examination). ' papers ' becomes ' ID ' (identification papers). ' the wrong way ' is a reversal indicator. ' id ' reversed gives.
Cast[edit]
- Steven Cree as Antonio Vivaldi.
- Clemency Burton-Hill as Laura Padovan.
- James Jagger as Alessandro Grimani.
- Tiffany Mulheron as Anna Grimani.
- Charity Wakefield as Ludovica.
- Lachlan Nieboer as Brandon Perry.
- Christian McKay as Estienne Roger.
- Georgia King as Vittoria.
- Matthew McNulty as Philippe d'Orléans.
- Matt Barber as François.
- Neil McDermott as Manfredi.
- Anja Kruse.
- Roberto Zibetti.
- Sergio Leone.
- Tuscia Nall Hollis.
- Eric Alexander as Count of Berkley.
- Elodie Hill as Little Elisabeth.
References[edit]
- ^'Vivaldi, the Red Priest'. IMDb.
- ^'Vivaldi, the Red Priest'. www.condor-pictures.com.
- ^''Vivaldi The Red Priest', ultimo ciak- Film.it'. www.film.it.
External links[edit]
Vivaldi The Red Priest
- Vivaldi, the Red Priest at IMDb
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Composer Nicknamed Red Priest
Red Priest dazzles with 'pirated' Baroque gems By ELAINE SCHMIDT Vacillating between high art and comedic shtick, the British early music ensemble Red Priest delivered a program of Baroque gems Friday evening at Wisconsin Lutheran College. Red Priest has carved out a unique niche in the early music world with its break-all-rules, rock concert-chamber concert approach to early music performance and with the dazzling technical prowess of recorder player Piers Adams. Taking their name from Antonio Vivaldi's nickname, earned by virtue of the composer's red hair and ordination in the Catholic Church, the four-person ensemble tore through a program titled, 'Pirates of the Baroque.' It featured Baroque music that had been 'stolen' from one composer by another, or lifted and arranged by members of the group. The theme of pirated music gave Adams, cellist Angela East and harpsichordist Howard Beach license to appear in stylized pirate attire, leather pants and boots. Violinist David Greenberg succeeded at the daunting task of subbing for a regular ensemble member. | Adams and his recorders are the musical and theatrical focal point of the group's performance. Dubbed the 'reigning recorder virtuoso in the world today,' he performs with the uninhibited energy of a rock musician who happens to have picked up a recorder instead of something amplified. Performing from memory, the group was freed from the constraints of chairs and music stands and took full advantage of the freedom. Adams and Greenberg moved about freely, sat on the lip of the stage at one point and later wandered into the wings while playing. Beyond the shtick, which included a loopy sword fight between Adams and Greenberg armed with a recorder and violin bow, respectively, Red Priest's musical abandon and technical grandstanding worked quite well for pieces such as a Vivace movement from a Telemann sonata, based on themes the composer lifted from folk melodies; the two fast movements of Vivaldi's Concerto in G major; and Jacob Van Eyck's 'The English Nightingale.'
What was missing from the show, particularly from Adams' portion of it, was a musical investment in the slower, more melodic, less technical bits of the program. He gave lovely melodies an almost cursory reading, as though waiting for something fast and fun to grab his attention. |
Red Priest Composer
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