Movement 1: Vestro Principi divino
Movement 2: O felix culpa
Movement 3: Quid loqueris ad cor
Movement 4: Alleluia
Unusually, the autograph manuscript leaves out the composer’s name. It likewise fails to identify the singer for whom it was composed, although that is less unexpected. In fact, the character of the contralto part and its accompaniment make it very likely that the singer was Geltruda (1684-1752), one of the Pietà’s leading musicians in the 1710s. Typically for a figlia di coro, Geltruda was active in more than a single capacity, being also a theorboist and a viola player. As a singer, she had a very narrow compass (the vocal part in RV633 stretches from Middle C only as far as the D a ninth above it) and a rather weak voice; a composer had to take care, as Vivaldi does, not to allow it to be drowned by the instruments. It is for this reason that when the contralto sings she is either accompanied by continuo alone or her part is doubled by violins.
from notes by ©