Gelido in ogni vena from Farnace

Among lesser-known works by the “Red Priest” (so-called because of his hair color and the fact that he was ordained in the Catholic Church) are more than forty operas. We tend to consider Vivaldi’s professional career solely in relation to the Ospedale della Pietà, the orphanage in Venice where he served as violin teacher and general composer-in-residence. The children he taught would be the first performers of so many brilliant scores, including instrumental concertos and sacred works. But outside the walls of the orphanage, Vivaldi sought wider fame and financial security as an opera impresario. He innovated theatrical forms with his dazzling instrumental style, which ideally suited the fevered emotions of most opera seria.
Farnace, as was common for its day, takes a plot from antiquity. It covers the defeat of King Pharnaces II, who ruled the Bosporus around the time of Julius Caesar, and the conflicting ambitions of those within his family circle. The work premiered in Venice in 1727 and was further revived in Prague when Vivaldi traveled there three years later. The work then languished without performance until the latter years of the 20th century. Among standout moments in Farnace is “Gelido in ogni vena,” sung by the title character. Having commanded his wife to kill herself and their son rather than be taken captive by the Romans, Farnace is here tormented by regret and loss.
Taking his cue from the initial word “gelido” (“like ice”), Vivaldi opens with slowly plodding strings that quote another chilling moment: the opening to “Winter” from The Four Seasons (1721). The homage is obvious as both works are written in F minor and use the exact same motive (F, G, D-flat, B-flat), piling up dissonances one upon the other. The aria itself is highly melismatic and calls for a wide vocal range. Written in da capo ABA form, the A section alone lasts over four minutes, equal in length to many entire arias in the Baroque era. The B section is short but not contrasting either in mode or mood. Coupled with the repeat of the A section, Vivaldi creates a nearly ten-minute obsession on mourning and regret.

(c) Jason Stell