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Monteverdi the Beauty of Monteverdi

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Monteverdi the Beauty of Monteverdi The Beauty of Monteverdi The Beauty of Monteverdi 2 Claudio Monteverdi (1567–1643) 1 L’Orfeo: Toccata 1:36 12 Zefiro torna, e di soavi accenti (Scherzi musicali, cioè arie, et madrigali in stil recitativo) 6:47 ENGLISH BAROQUE SOLOISTS · JOHN ELIOT GARDINER Text: Ottavio Rinuccini ANNA PROHASKA soprano · MAGDALENA KOŽENÁ mezzo-soprano Vespro della Beata Vergine LA CETRA BAROCKORCHESTER BASEL · ANDREA MARCON harpsichord and conductor 2 Lauda Jerusalem a 7 3:48 13 (Ottavo libro de’ madrigali: Madrigali guerrieri, et amorosi) 8:00 3 Duo seraphim a 3 6:44 Lamento della ninfa Text: Ottavio Rinuccini 4 Nisi Dominus a 10 4:36 MAGDALENA KOŽENÁ mezzo-soprano 5 Pulchra es a 2 3:57 JAKOB PILGRAM · MICHAEL FEYFAR tenor · LUCA TITTOTO bass MARINELLA PENNICCHI � · ANN MONOYIOS � soprano LA CETRA BAROCKORCHESTER BASEL · ANDREA MARCON harpsichord and conductor MARK TUCKER � · NIGEL ROBSON � · SANDRO NAGLIA � tenor · THE MONTEVERDI CHOIR � , � JAKOB LINDBERG � chitarrone, � lute · DAVID MILLER �, � · CHRISTOPHER WILSON � chitarrone 14 Io mi son giovinetta (Quarto libro de’ madrigali) 2:14 ENGLISH BAROQUE SOLOISTS · HIS MAJESTYS SAGBUTTS & CORNETTS · JOHN ELIOT GARDINER Text: Giovanni Battista Guarini Recorded live at the Basilica di San Marco, Venice EMMA KIRKBY · EVELYN TUBB soprano · MARY NICHOLS alto JOSEPH CORNWELL tenor · RICHARD WISTREICH bass L’Orfeo CONSORT OF MUSICKE · ANTHONY ROOLEY Libretto: Alessandro Striggio jr 6 “Rosa del ciel” (Orfeo) … “Io non dirò qual sia” (Euridice) … 4:30 15 Parlo, miser, o taccio (Settimo libro de’ madrigali) 4:42 Balletto: “Lasciate i monti” … “Vieni, Imeneo” (Coro) Text: Giovanni Battista Guarini 7 Sinfonia … “Ecco pur ch’a voi ritorno” (Orfeo) 0:50 EMMA KIRKBY · JUDITH NELSON soprano · DAVID THOMAS bass CONSORT OF MUSICKE · ANTHONY ROOLEY 8 “Mira ch’a sé n’alletta” (Pastore I & II) … “Dunque fa’ degni, Orfeo” (Coro) 2:18 9 “Qual onor di te fia degno” … “O dolcissimi lumi” (Orfeo) – 3:16 16 Laetatus sum (Messa, salmi concertati e parte da capella, et letanie della B. V.) 6:09 “Rott’hai la legge” (Spirito III) SUSAN HEMINGTON JONES · TESSA BONNER soprano 10 “Ahi, vista troppo dolce” (Euridice) … “Torna a l’ombre di morte” (Spirito I) – 2:34 CHARLES DANIELS · ANDREW TUSA tenor “Dove ten vai, mia vita?” (Orfeo) PETER HARVEY baritone · JONATHAN BEST bass GABRIELI CONSORT & PLAYERS · PAUL MCCREESH 11 Moresca 1:13 ANTHONY ROLFE JOHNSON tenor (Orfeo) · JULIANNE BAIRD soprano (Euridice) · MARK TUCKER tenor (Pastore I) 17 L’incoronazione di Poppea: “Pur ti miro” (Poppea, Nerone) 5:10 NIGEL ROBSON tenor (Pastore II) · HOWARD MILNER tenor (Spirito I) · JOHN TOMLINSON baritone (Spirito III) THE MONTEVERDI CHOIR · ENGLISH BAROQUE SOLOISTS · JOHN ELIOT GARDINER Libretto: Giovanni Francesco Busenello ANNA PROHASKA soprano (Poppea) · MAGDALENA KOŽENÁ mezzo-soprano (Nerone) LA CETRA BAROCKORCHESTER BASEL · ANDREA MARCON harpsichord and conductor 3 Anne Sofie von Otter John Eliot Gardiner Magdalena Kožená Paul McCreesh 4 18 Laudate pueri Dominum II (Selva morale e spirituale) 7:09 L’incoronazione di Poppea SUSAN HEMINGTON JONES · TESSA BONNER soprano 23 “Adagiati, Poppea … Oblivion soave” (Arnalta) 2:52 CHARLES DANIELS · ANGUS SMITH tenor · JONATHAN BEST bass 24 “Sento un certo non so che” (Valletto, Damigella) 2:07 GABRIELI CONSORT & PLAYERS · PAUL MCCREESH 25 “Scendiam, scendiam” (Amore, Coro d’Amori, Venere, Poppea, Nerone) 7:56 19 Laudate Dominum in sanctis eius (Selva morale e spirituale) 3:33 BERNARDA FINK alto (Arnalta, Coro d’Amori) · CONSTANZE BACKES soprano (Valletto, Coro d’Amori) ANGUS SMITH tenor MARINELLA PENNICCHI soprano (Damigella, Amore, Coro d’Amori) · CATHERINE BOTT soprano (Coro d’Amori) PAULA CHATEAUNEUF chitarrone · TIMOTHY ROBERTS organ SYLVIA MCNAIR soprano (Poppea) · DANA HANCHARD soprano (Nerone) GABRIELI CONSORT & PLAYERS · PAUL MCCREESH ANNE SOFIE VON OTTER mezzo-soprano (Venere) ENGLISH BAROQUE SOLOISTS · JOHN ELIOT GARDINER 20 Lamento d’Arianna 11:02 Recorded live at the Queen Elizabeth Hall, Southbank Centre, London Adapted for solo voice and theorbo by Jakob Lindberg Text: Ottavio Rinuccini 26 Cruda Amarilli (Quinto libro de’ madrigali) 2:36 ANNE SOFIE VON OTTER mezzo-soprano Text: Giovanni Battista Guarini JAKOB LINDBERG theorbo EMMA KIRKBY soprano · MARY NICHOLS alto JOSEPH CORNWELL · ANDREW KING tenor · RICHARD WISTREICH · JOHN MILNE bass 21 Non voglio amare (Nono libro de’ madrigali) 1:11 CONSORT OF MUSICKE · ANTHONY ROOLEY Text: anon. 27 Deus qui mundum crimine iacentem (Selva morale e spirituale) 4:24 NIGEL ROGERS · IAN PARTRIDGE tenor · CHRISTOPHER KEYTE bass WERNER KAUFMANN virginal · COLIN TILNEY harpsichord CHARLES POTT baritone EUGEN M. DOMBOIS lute · MICHAEL SCHÄFFER chitarrone GABRIELI CONSORT & PLAYERS · PAUL MCCREESH HEINRICH HAFERLAND viola da gamba · HANS KOCH violone JÜRGEN JÜRGENS direction 28 Sì dolce è ’l tormento (Quarto scherzo delle ariose vaghezze) 3:23 Text: Carlo Milanuzzi 22 Come dolce oggi l’auretta (Nono libro de’ madrigali) 3:25 MAGDALENA KOŽENÁ mezzo-soprano Text: Giulio Strozzi PRIVATE MUSICKE · PIERRE PITZL EMMA KIRKBY · JUDITH NELSON · POPPY HOLDEN soprano CONSORT OF MUSICKE · ANTHONY ROOLEY Vespro della Beata Vergine 29 Nigra sum a 1 3:18 30 Magnificat I a 7 18:00 JOSEPH CORNWELL tenor �� GABRIELI CONSORT & PLAYERS · PAUL MCCREESH 5 a high forehead. The sitter gives the playing the viol. It was at around this impression of being tall, he has sensi- time that the deaths of Palestrina and Il divino Claudio tive, long hands and gazes out into the Orlande de Lassus spelt the end of the world with obvious vigilance. Even in heyday of Franco-Flemish polyphony the portraits that show him as a young and the first opera was performed: man he has this same highly inquisi- Dafne by Jacopo Peri. Staged in Florence tive look. during the 1597/98 carnival, Dafne has Claudio Monteverdi was born in Cre- not survived, but the same is not true l divino Claudio was the name that to Venice, he had already published five mona in 1567. Cremona was a small trad- of Monteverdi’s Favola d’Orfeo, which the Italians gave to their Monte- books of madrigals, bringing up to date ing centre, where Stradivarius and Amati tells the story of the bard Orpheus and I verdi. And there is another honor- and modernizing a form that until then built their violins and where Montever- which was first performed at the Palaz- ific title that has attached itself to his had been associated with the world of di’s forebears are said to have included zo Ducale in Mantua on 24 February 1607. name: the “father of opera”. He created early music. Polyphonic choral singing lute-makers. His father was a surgeon Behind the performance lay the Acca- so much that was new in music – and was replaced by Baroque monody, by the and encouraged his sons in their resolve demia degli Invaghiti: the Academy of not just in the field of opera, which is solo voice and by the sung poem. With to go into music. Claudio was only fif- the Lovestruck. And what a subject for in any case inextricably linked to his this we are already close to the oper- teen when he published his three-part a first opera! Following the death of name. His achievements as maestro di atic aria. Here, too, Monteverdi found Sacrae cantiunculae, twenty-three original his beloved Eurydice, the gifted singer cappella at St Mark’s in Venice and the himself in exactly the right place at the motets to words taken from the lives of Orpheus, who can move even the stones way in which he transformed the music right time, for in 1637 the world’s first the saints, followed soon afterwards by and wild beasts to tears with his sing- of his time, breathing new life into it public opera house was opened in Ven- two books of three- and five-part madri- ing, persuades the gods of the Under- and contributing to its development ice: the Teatro San Cassiano. gals. In short he made a precocious start world to allow his dead wife to return during the transitional period from the It was around this time that Bernar- in life, and by the age of twenty-three with him to the earth. He is permitted Renaissance to the Baroque – these are do Strozzi painted his famous portrait he had been appointed to a position at to return with her in person, but only on all aspects of his work that continue to of Monteverdi. It shows a gaunt figure the court of Duke Vincenzo I Gonzaga condition that he does not turn round astonish us today. Even before he moved with a serious face, intelligent eyes and in Mantua, where his duties included and look at her on their way back to the 6 surface. In other words, he is not allowed stroll through public parks – had sev- for us because it can never become balance between different periods in the to doubt. But he does so and as a result enteen opera houses to entertain a ‘early music,’ but will always remain development of music and his constant he loses her forever. population of some 200,000. In 1613 it vital and living.” ability to take a further step forward and I have always been moved by the enlisted the services of Monteverdi for And yet this great composer, the enter the world of the unknown. The fact that this opera marks the start of its cathedral and found in him a com- 450th anniversary of whose birth falls Renaissance blossoms anew in Monte- European opera because what it says poser who could turn his hand to every in 2017, fell into obscurity for several verdi’s early madrigals and then, as the is nothing more nor less than that we genre with equal success, conducting centuries. His opera L’incoronazione di Sicilian musicologist Paolo Emilio Car- should trust art, for if we do not, we choirs, writing madrigals, composing Poppea was last performed in 1681–82 apezza has written, “the new Baroque shall be lost.
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