Griselda is one of Vivaldi’s last operas out of dozens… What makes it special in his output?

Vivaldi was constantly experimenting, even in 1735 at this late stage of his career. He also explores the extremes of some of the voices he was writing for. In the case of my character Ottone, it seems that the aria Scocca dardi was too difficult for the soprano castrato Lorenzo Saletti, who originally sang the role. Vivaldi hurriedly composed the alternative aria, Dovresti esser contenti; a challenging substitute but both shorter and technically much easier than the first one, which stretches two and a half octaves. I’m pleased to say I’ll be singing Scocca dardi in Pinchgut Opera’s production – most likely the first time it’s been sung by a man since its conception (that’s if Saletti sang it at all)!

Vivaldi is better known for The Four Seasons than for his dozens of operas. Is the resurgence of interest in his stage works, particularly the new recordings of his Turin manuscripts, a cause to celebrate for countertenors?

Absolutely. As much as I enjoy singing Handel, I think both singers and audiences alike appreciate a change of musical scenery; an opportunity to hear something new to...