Two hundred years ago, classical music was to most people what modern music is to us now; new, expressive, popular and fun to sing along to. As time has progressed, classical music has taken on the image of a more refined art, and in some circles, considered stagnant or simply archaic. "Vivaldi: The Meeting" turns these preconceived notions upside down. Take seven of Vivaldi's works and add one heavy metal percussionist. I'm not joking. "Dave Lombardo," formerly of Slayer, creates a whole new dimension for Antonio Vivaldi; waking it up, turning the lights back on, and putting new vitality into a dusty corner in the realm of classical music.

According to the story Concierto Barroco by Alejo Carpentier, Vivaldi had met a Cuban percussionist a little more than two hundred years ago in Venice. In the story, there is a challenge between Vivaldi and Händel: Who can create the best musical improvisation? They proceed after attending an opera to Vivaldi's school, where they begin to improvise. They are not alone. They have been followed by a Cuban gentleman who is a brilliant percussionist in his own right. Upon hearing the music being produced by Vivaldi and Hândel, the Cuban gentleman races into the kitchen, gathers up whatever he can find there and begins to beat out a rhythm on the pots, pans and what have you, matching tempo and challenging, as well as complementing, the sounds that he is hearing. He eventually brings the tempo up into such a feverish pitch that all the musicians end in an acme of jubilation.

"Loranzo Arruga," the conductor and dreamer behind this album, was enraptured by this concept. The idea of bringing together one of the most talented instinctive percussionists of the modern day, with several other musical virutosi, was the fountainhead of this album. Arruga does not disappoint. He has successfully re-invented that meeting in a modern setting.

Right from the very first cut, "Guarda In Quest'Occhi (Look Into These Eyes and Listen)," from the opera "Ottone in Villa (The Brass House)," Lombardo provides a solo percussion introduction that shocks the nervous system and gets the blood pumping! Paola Quagliata, a soprano of remarkable sweetness, builds literally out of nothing to form the ghostly melody, while Arruga's harpsichord accompanies her. Meanwhile, Lombardo backs her song with his cymbals. All in all, quite a departure from what most of us have come to know of Vivaldi. Refreshing.

Of the seven tracks, the two most easily recognizable are the 2nd and 7th, both from "Quattro Stagioni (Four Seasons)." The second cut, "La Tempesta D'Estate (Summer Storm)," takes off with an energetic improvisation between the oboe, flute and percussion. It definitely keeps the flavor of a storm. The percussion seems to embody the deluge, thunder and lightening, while the flute illustrates gusts of wind, and the oboe, the rain. Together, the three are dynamic, innovative and fresh. My only problem with this is the complete departure from the original "La Tempesta". As I don't have the sheet music in front of me, I would estimate that only about 20 measures at the beginning of the piece have anything to do with Vivaldi's work.

The third cut, "La Pena Amara del Mio Cur (The Bitter Suffering of My Heart)," from the Vivaldi's opera "La Verità in Cimento (Truth on Trial)," is a sweet and spritely aria which benefitted from Lombardo's dance on his percussions, by giving a bit more weight to the song. However, the solo he does about 2/3's of the way through, caught me off guard and felt somehow disconnected from the rest of the aria. It was excellent drumming though, and Paola's bell toned soprano was most enjoyable.

A simple light flourish of Lombardo's cymbals and the mournful "Vedrò con Mio Diletto (I'll See with Great Satisfaction)" from the opera "Il Giustino," begins it's journey with harpsichord and Luca Avanzi's lilting oboe. Ms. Caterina Calvi, a luscious contralto, joins in nearly 4 minutes into the duet, rounding out the theme into a soft and dreamy aria.

The fifth cut is the famous "Nel Profondo Cieco Mondo (In the Deep Dark Woods)" from the opera "Orlando Furioso." Calvi's rich voice takes on a jazzy note when she improvises right into scat! Her classically trained voice flows into the tongue twisting tones and syllables of scat, as though she were born to it.

The sixth cut is "Agitata Da Due Venti (Shaken By Two Winds)" from the opera "La Griselda." This song is almost completely intact, but for the addition of the percussion. It lends the song more flourish than it had before, yet I never thought it needed more flourish. This is not an "improvement" of the original, merely a different way of experiencing it.

Calvi's haunting voice carries the melody line of the "Il Canto del Pastore (The Shepherd's Song)" while being understated by Lombardo's somber marshall cadence. As the final cut on the album, it's an enigmatic but stately finish to a most successful experiment.

Whether or not Arruga achieved his goal in recreating the magic of Alejo Carpentier's story, is a matter of personal judgement. This CD obviously had it's moments of magic, but like a blooming rose, this album is not without it's thorns. Whether you decide to enjoy the beauty and aroma of this unique bloom, or merely walk past it to avoid the prickles, this is a selection of musical flowers from a very different and new hybrid. Frankly, I'm enjoying my bouquet, thorns and all.