there's some beautiful music here, and fine performances...Alessandrini only relaxes his grip on the score to allow the most beautiful passages breathing space, and the playing is brilliant.

More than 50 composers set Pietro Metastasio's libretto L'Olimpiade between 1733 and 1815, starting with Caldara and including along the way such names as Pergolesi, Galuppi, Cimarosa, Cherubini and Paisiello. The booklet note for this new recording suggests that Vivaldi was trying to take on the newly fashionable Neapolitan composers at their own game, not only by setting a poem by their favourite librettist, but also by adopting some of their musical mannerisms.
Maybe so, but there can be few composers with a more deeply ingrained personal style than our friend the Red Priest, and it's an unmistakably Vivaldian flavour which is the strongest in this thoroughly agreeable work.
Despite the public context – the story is played out against the backdrop of the Olympic Games – this is a drama which focuses on the personal predicaments of the principal characters, each of whom faces an interesting conflict between head and heart somewhere along the line. This is more apparent from Metastasio's words than from Vivaldi's music, to be honest, but that isn't to say that the composer has been unresponsive.
The most effective and intimate moments occur in the recitatives, which are fluidly conversational and full of realistic interruptions, questions and exclamations, all of which Vivaldi handles with considerable dramatic skill.
Rinaldo Alessandrini's direction is typically unfussy and to the point, ever alert to the music's dramatic intent but without imposing himself on it unduly. The finest vocal performances come from Sara Mingardo, Roberta Invernizzi and Sonia Prina, but in truth no one is a weak link. The recitatives are effectively done, the arias thrown off with dash and aplomb, and everyone sounds as if they believe in the work.