He has worked as an arranger, producer and composer and has amassed an astonishing catalogue of work in film, pop, rock, classical music and theatre. The premise of Vivaldi - The Fifth Season is to recreate the composer’s persona as a rock god of the Baroque (or should that be BaRock) era, and the discovery of his diary by a contemporary girl group the device Kolonovits and his librettist, Angelika Messner, use to imagine what a superstar would have looked like in the seventeenth and eighteenth centuries.īorn in 1952 in Rechnitz (Austria) to Hungarian and Croatian parents, Christian Kolonovits’ creativity seemingly knows no boundaries. Vivaldi - Die fünfte Jahreszeit (Vivaldi - The Fifth Season) is not an undiscovered work by the Venetian master, but a twenty-first-century, cross-genre opera from the pen of Christian Kolonovits. Now you can breath a sigh of relief or possibly gasp in expectation, depending upon your point of view.

Yes, it’s true that many of Vivaldi’s works were only found in the last century, tucked away in a Salesian boarding school in Piedmont before being placed in the vaults of the National Library in Turin. Because everyone knows that there are only four and Antonio Vivaldi, the very first composer to write, for want of a better term, programme music, must have stuck to the meteorological certainty of spring, summer, autumn and winter? Vivaldi - The Fifth Season? Surely there’s been some mistake.

Vivaldi opera