Claudio Monteverdi

[TheGSMoeller]

And don't forget McCreesh and Parrott!  Both are very, very good.  The one that hasn't worked for me, so far, is a relatively recent recording from L'Arpeggiata.  Some of the singing was IMHO underwhelming.

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Perhaps we need a blind listening of the Vespers   

It would be an enlightening comparison.    I am one that enjoys the L'Arpeggiata recording quite a bit, but agree the McCreesh is a must (and better), I'm also a strong advocate of Pearlman and the BeanTown Baroque which incidentally was my first Vespers recording. 

[Wakefield]

Bruce, that's the one you need IMO.

Useful comparison could be Savall on Alia Vox.

Q

Two favorites of mine too, but I prefer Savall over Alessandrini.

I also like very much Gabriel Garrido (a fine conductor rarely mentioned here) and his Ensemble Elyma; they are pure energy. 

[Que]

Two favorites of mine too, but I prefer Savall over Alessandrini.

I also like very much Gabriel Garrido (a fine conductor rarely mentioned here) and his Ensemble Elyma; they are pure energy. 

Totally flew under my radar though I vaguely remember seeing it! Listening to samples now - very nice, and special/different indeed.
I have a clear preference for Alessandrini over Savall myself. But by the sound of it Garrido would be a strong contender.

Anayway, I guess our hint to Bruce is of the same nature: go for a Mediterranean ensemble. For me personally Monteverdi & a British (style) ensemble does not compute...

Good evening all 

Back on the right side of the channel last night with the Atterberg, Rangstrom, and Tallis boxsets waiting in my letterbox 

and also this Scarlatti CD being played now :

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Sonatas for viola d'Amore (Valerio Losito) and harpsichord (Andrea Coen).

This is stunning. buy it !  0:)

(* pounds the table *)

+1  A really cute disc that shows that Domenico could do more than just keyboard sonatas. Coen is his usual outstanding self.

Q

[Octave]

Totally flew under my radar though I vaguely remember seeing it! Listening to samples now - very nice, and special/different indeed.
I have a clear preference for Alessandrini over Savall myself. But by the sound of it Garrido would be a strong contender.

I had a great experience with Garrido/Elyma's VESPERS just very recently---maybe just a week or so ago?  I've still not heard the Savall or Alessandrini, I'm sorry to say (weird, for a work that I am obsessed with, and with those two guys receiving such consistent accolades); but on the heels of listening to Garrido's Monteverdi operas, this VESPERS was exciting and sung with such crispness and purity.  Marvelous energy.  I actually ended up glad that I had ignored a review I'd read (Musicweb?) that referred to the Garrido as "not one of the great recordings" of the VESPERS.  That review clearly intended to be even-handed, and I might even end up agreeing; but for now I can't wait to listen to it again.  In fact, I am forcing myself to not listen to it for several more months, just to let the experience become even more spontaneous for me.

FYI there are two Amazon US product pages for that VESPERS; I scored mine "new" from MP for ~$5 including shipping, a crazy good deal.  It's not that cheap now, but maybe there are some cut-outs floating around.  Here are the two ASINs:
B000063XPD
and
B003097BAU
I think the difference might be that the first ASIN (the one I bought) came with a glossy K617 catalog c. 2007).

[Octave]

My go-to recording is the Gardiner:

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[....]

I've heard good things about the Alessandrini - it arrived as part of the Naive box set which contained the Minkowski Bach - but I haven't had time yet to listen.

I'd like to second KeithW's recommendation of the second ~1989 Gardiner live recording on Archiv (pictured above), which is gorgeous.  (Gardiner did a previous on, which has been reissued as a Decca [?] 2cd, but I have read a few accounts which claim that it compares poorly with the later one.  I know I love the one pictured above!  It might even be a strong first-choice, though if you love the music much, some of these other recommendations come strongly recommended as well...I don't think you would find them redundant.)

Also thanks Keith for mentioning that (Naive) SACRED BAROQUE box set with the Alessandrini.  That's a savings compared to the original issue, especially if the other offerings are any good. 

[Wakefield]

Totally flew under my radar though I vaguely remember seeing it! Listening to samples now - very nice, and special/different indeed.
I have a clear preference for Alessandrini over Savall myself. But by the sound of it Garrido would be a strong contender.

Anayway, I guess our hint to Bruce is of the same nature: go for a Mediterranean ensemble. For me personally Monteverdi & a British (style) ensemble does not compute...

I guess I tend to agree, but with one remarkable exception: L'Orfeo performed by Rogers/Medlam and Co., still my favorite version.

BTW, I found this video of Savall's group performing L'Orfeo. Conduction and instrumental performance are great; unfortunately the singing not so quite (f.i., Monserrat Figueras as "La Musica"):

http://www.youtube.com/v/0mD16EVxNOM

[Willoughby earl of Itacarius]

I guess I tend to agree, but with one remarkable exception: L'Orfeo performed by Rogers/Medlam and Co., still my favorite version.

BTW, I found this video of Savall's group performing L'Orfeo. Conduction and instrumental performance are great; unfortunately the singing not so quite (f.i., Monserrat Figueras as "La Musica"):

http://www.youtube.com/v/0mD16EVxNOM

Unfortunately the voice of Monserrat Figueras, deteriorated when she was around 50. Most of the recordings before lets you hear a fine clear and lucid soprano, with non of the sharpness that got to plague her later recordings, with some exceptions.
Still, she is missed much.

[Geo Dude]

Count me in as a fan of the Pluhar recording of the Vespers.  I also have the Pearlman recording on hand, which I need to give a thorough listen to.

Oh, by the way, I have no idea how that recording of Scarlatti's viola sonatas ended up in here, but thanks.   Wish listed for next month.

In other news, a few members here happened to buy recordings of Orfeo concurrently, seemingly by random chance, and decided that we'd report back.  I haven't seen any other posts floating around so I'll start (I think) the comparisons here:

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The recording I picked up--my first, actually--is a dark-horse recording whose claim to (not very much) fame is that it is the first American production of L'Orfeo.  I purchased it based on some reviews I googled and the fact that it could be had off the marketplace for under $8. (Not any more, but the used price is still pretty good.)

I should first note that this is a period instrument recording (probably a given), with lutes, bass-lute (forgive me for not knowing the proper term), harpsichord continuo, violins and cornets among other things.  It's also a small ensemble recording:  Gwendolyn Toth states in the liner notes that for financial reasons they had to stick to an orchestra and cast of singers that were small.  The instrumental section doesn't feel 'small' to me, though it very well might next to those used with a recording with a larger orchestra.  A more important note is that only seven singers are present which means that there is some doubling up on bit parts.  (A full listing of the instrumental and vocal ensembles can be found here.)  This may bother some, but all of the singers are strong, so I found that forgivable.  Something tells me that this probably wouldn't be a first choice for many here (or myself, if I had others on hand), but I loved it and I'm pretty certain that I will be returning to it in the future.  And for better or for worse it has me very curious about Monteverdi's other operas.  Recommendations, please!

[TheGSMoeller]

Count me in as a fan of the Pluhar recording of the Vespers.

Don't stop there, my friend. Give this one a try. A nice collection of music from Monteverdi, some instrumental and some arias, all with a uniquely beautiful sound, Ohime, Ch'io Cado is even given a Jazz treatment, it's interesting.




My newest Orfeo purchase arrived a few days ago, in fact just now started it for a first listen...

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[HIPster]

Don't stop there, my friend. Give this one a try. A nice collection of music from Monteverdi, some instrumental and some arias, all with a uniquely beautiful sound, Ohime, Ch'io Cado is even given a Jazz treatment, it's interesting.

I am a fan of this recording as well!  Where to go next with Pluhar and L'Arpegiatta?

Also, has anyone heard this one yet:
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Further pushing into the boundaries of jazz with bassist Steve Swallow. . .

[Geo Dude]

Don't stop there, my friend. Give this one a try. A nice collection of music from Monteverdi, some instrumental and some arias, all with a uniquely beautiful sound, Ohime, Ch'io Cado is even given a Jazz treatment, it's interesting.

I've heard some good things about that but also heard that it can be hard to determine where they end and Monteverdi begins.  Not necessarily something that disqualifies it as a purchase, just makes me wonder if I should have a more firm grounding in Monteverdi first.

And come on people, I'm still interested in recommendations for his other operas.

[TheGSMoeller]

I've heard some good things about that but also heard that it can be hard to determine where they end and Monteverdi begins. 

Eh, hogwash. That sounds like something popular to say when the listener doesn't agree with the interpretation. Is it different? Yes, but unique and fresh.

[TheGSMoeller]

My newest Orfeo purchase arrived a few days ago, in fact just now started it for a first listen...

[asin]B007X8ZDAY[/asin]

An interesting breed this one is, and one to keep close by. The singing is heavy on the dramatics, more so than any other Orfeo I've ever heard. The emotion of the character's actions are clearly defined from this mostly (if not all) Italian cast of singers. Although the quality of singing has been performed better on other recordings, it's difficult to imagine being matched with expression.
The real pull of this one is the instrumental ensemble led by Sergio Vartolo, I don't see a title of the group listed , but each individual performer is along with their instrument(s). There are 20 musicians, including Vartolo conducting from the cembalo and spinet, with 7 of them being part of the brass section (cornetto, tromboni). The instruments are recorded very closely and blend nicely with the vocalists, but always audible and heavy on the bass. Right at start they assert themselves with an intense Toccata, followed by the opening Ritornellos, that alternate during the prologue, they are delicate and lyrical, very foreshadowing. These musicians are just as expressive as the singers.
I've listen to it straight through once, and revisited a few highlights, and can easily see myself returning for more. It may not be a top recommendation, for now at least, but for a great price you're getting a strong performance. Unfortunately, the libretto is missing from the booklet, but it shouldn't be difficult to obtain off the internet.

[Karl Henning]

Ahi, caso acerbo!

[Geo Dude]

Something told me Karl would show up in this thread after I bumped it...

In other news, the box set of Consort of Musicke/Rooley Madrigals arrived today.  I will hopefully get a chance to dig into it tonight or tomorrow.

[Karl Henning]

Aye, though I am reminded that I have as yet entirely too few of the madrigals loaded onto the external hard drive . . . .

[TheGSMoeller]

Entire opera was available on YouTube, but is now on my wish list, more than likely the Blue Ray edition. A surreal production, but not overly distracting. The real beauty is in the singing, Connolly and Persson are perfect.

[Wakefield]

An interesting breed this one is, and one to keep close by. The singing is heavy on the dramatics, more so than any other Orfeo I've ever heard. The emotion of the character's actions are clearly defined from this mostly (if not all) Italian cast of singers. Although the quality of singing has been performed better on other recordings, it's difficult to imagine being matched with expression.
The real pull of this one is the instrumental ensemble led by Sergio Vartolo, I don't see a title of the group listed , but each individual performer is along with their instrument(s). There are 20 musicians, including Vartolo conducting from the cembalo and spinet, with 7 of them being part of the brass section (cornetto, tromboni). The instruments are recorded very closely and blend nicely with the vocalists, but always audible and heavy on the bass. Right at start they assert themselves with an intense Toccata, followed by the opening Ritornellos, that alternate during the prologue, they are delicate and lyrical, very foreshadowing. These musicians are just as expressive as the singers.
I've listen to it straight through once, and revisited a few highlights, and can easily see myself returning for more. It may not be a top recommendation, for now at least, but for a great price you're getting a strong performance. Unfortunately, the libretto is missing from the booklet, but it shouldn't be difficult to obtain off the internet.

Thanks, Greg. It's a very accurate review.

I think very highly of all these Monteverdi operas recorded by Vartolo. They have a sort of antique flavor, a bit rough, that I like very much. 

[TheGSMoeller]

Thanks, Greg. It's a very accurate review.

I think very highly of all these Monteverdi operas recorded by Vartolo. They have a sort of antique flavor, a bit rough, that I like very much. 

You're welcome. 

And I'm interested in hearing more from Vartolo for sure.

[Wakefield]

You're welcome. 

And I'm interested in hearing more from Vartolo for sure.

BTW, he also recorded L'Orfeo on Naxos; but I haven't listened to that version. 

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