Nisi Dominus, RV 608
Concerto for Strings in D Minor, RV 128
Cessate, omai cessate, RV 684
Salve Regina, RV 618
Sinfonia in B Minor, RV 169, "Al Santo Sepolcro"
Amor, hai vinto, RV 683

One need only listen to, for example, the Cum dederit dilectis suis somnum (For he has granted to those he loves rest) from this composer's Nisi Dominus, to realize that you've barely scratched the surface of the music of Antonio Vivaldi (1678-1741), if all you've ever heard is this composer's Four Seasons. Even if you've listened to other instrumental concertos or sonatas by Vivaldi, it's within his vocal music that you encounter the full expressive depth of his creative output.

Antonio Vivaldi was not only a composer, violinist and teacher, but a priest as well. His erudite understanding of liturgical or sacred text was instantly enhanced by his music. Some of his best works in this mode are the Nisi Dominus, Stabat Mater, and his choral masterpiece Gloria. Where his instrumental works were often implemented as teaching material, his vocal music seems to stem from a deeper, more personal place.

British countertenor Tim Mead, has played an important role in many opera productions ranging from Handel to Britten, but besides a previous recording of vocal works by Purcell, this new recording seems to be his second only venture into solo repertoire. Praised for his "alluring" and "consistently excellent" interpretations (New York Times). With his "rich, mellifluous sound" (Guardian), he is recognised as one of the finest across the generations of countertenors {Booklet Notes}. His dulcet and yet compelling voice, bolstered by the period authenticity and lean sonics of the Arcangelo ensemble, leads the music forward at all times. Operatic in one instance, reverential in another, he captures and projects perfectly the composer's intent.