I'm still relatively new to Monteverdi, and of the madrigals I only have Book 8 in the recording by Rene Jacobs. Sounds great to me, sensitive to every word of the text and fleshed out with a lovely variety of keyboard instruments.
But since I have heard no other interpretation, such observations are worthless :-\
SO: I would like to investigate one of the complete or ongoing cycles of the madrigals - all eight books.
From research on the previous forum and elsewhere online, it seems the main choice is between Rinaldo Alessandrini on Naive and Marco Longhini on Naxos. I know which one I prefer on price, but both are highly recommended by multiple reviewers and members here. I haven't heard anything of Longhini or his ensemble Delitiae Musicae, but Alessandrini and Concerto Italiano are reasonably well-known to me - I like. Are the texts included in these sets?
So...suggestions? Are there important cycles I've missed? Perhaps Anthony Rooley?
Also, there's a box on Brilliant Classics which contains a lot of the madrigals...anyone have experience with that?
Thanks
There is another ongoing series on the Spanish label Glossa, containing performances by the group La Venexiana dir. Claudio Cavina. I cannot comment on the quality of these since I have invested on the Alessandrini sets already. My understanding is that the Naxos series by Longhini uses falsetto singsers on the treble parts which may sound weird to some ears.
Glossa page for the Venexiana (http://www.glossamusic.com/artists/lavenexiana.htm)
The 6th Book of Madrigals is very beautiful, and there is a splendid version of the Concerto Italiano with Alessandrini: some madrigals of this book are sublime, like La Sestina, Zefiro torna, Qui rise Tirsi.
The 8th Book by Alessandrini has great moments, but the excerpts recorded by William Christie are also very good.
There is a major flop in Alessandrini's interpretations: Il Ballo dell'Ingrate, incredibly artificial.
Thanks guys. It looks like Alessandrini is worthwhile, but if anyone has heard the La Venexiana series some comments would be appreciated. I have heard good things about their other madrigal recordings but nothing about their Monteverdi cycle.
I never heard La Venexiana in Monteverdi. But their recording of Marenzio's 9th Book of Madrigals is remarkable.
Regarding Madrigals, my great wish would be a recording of Alessandrini or La Venexiana of the sublime Madrigals of Arcadelt. The only interpretation I have, the Consort of Musicke directed by Rooley shows a complete and absurd indifference regarding the words.
Glossa usually doesn't give out sound examples to websites but there are a lot at jpc.
Example: monteverdi libro settimo bei jpc.de (http://atorderunbesiegbare.auf-dvd.de/jpcng/classic/detail/-/hnum/3261684)
BTW, from what little I heard of La Venexiana, it reminds me a lot of Alan Curtis couple of discs on Virgin who used mostly Italian singers - too bad Curtis focused on duets only, but many are selections from the madrigal books.
Quote from: masolino on July 02, 2007, 04:18:25 AM
Glossa usually doesn't give out sound examples to websites but there are a lot at jpc.
Example: monteverdi libro settimo bei jpc.de (http://atorderunbesiegbare.auf-dvd.de/jpcng/classic/detail/-/hnum/3261684)
Thanks for linking those clips. From what I can hear there, Longhini and La Venexiana seem to be the best choices. Longhini sounds maybe more reverential, as if it was church music or something - the all-male thing adds to that impression, too. But these short clips aren't a sure way to tell.
Heard them on the radio, stunningly beautiful - therefore, I must buy some, but which?
Quote from: Michel on August 10, 2007, 03:16:47 AM
Heard them on the radio, stunningly beautiful - therefore, I must buy some, but which?
'
La Venexiana on Glossa. Or Alesandrini on Naive. For a different view (which I like a lot, but don't make them your only choice); the Naxos series. Start with the books nr 5 to 8 preferably.
I just received these CD's and bought them on Tancata's recommendation. So far I've only learned the first tract but it is very beautiful. Rene Jacobs conducts.
http://www.amazon.com/Monteverdi-Madrigali-guerrieri-amorosi-Concerto/dp/B00006L7TB/ref=sr_1_24/104-6944379-3143911?ie=UTF8&s=music&qid=1187207311&sr=1-24
Yeah, Rene Jacobs' recording of Book 8 is superb. It's a very dramatic performance but funny when called for, and not afraid to be a little ragged here and there. The singers are mostly early music soloists in their own right. But don't take my word for it, read any review :P.
The 6th Book by the Concerto Italiano is remarkable, with the best versions of the Sestina and Qui rise Tirsi that I ever heard.
But I wouldn't say the same regarding their version of the 8th Book. Il Ballo del Ingrate is almost ridiculous with all their preciosity.
Quote from: val on August 22, 2007, 03:37:55 AM
The 6th Book by the Concerto Italiano is remarkable, with the best versions of the Sestina and Qui rise Tirsi that I ever heard.
Are you talking about the one released under Arcana? The new one really isn't as impressive.
The Consort of Musicke are very good as well, but i'll be damned if i can find book VII anywhere.
QuoteJosquin des Prez
Are you talking about the one released under Arcana? The new one really isn't as impressive.
Yes, it is the ARCANA version of 1992.
Regarding the Book 7 I never found a version that pleased me, with the exception of some madrigals, such as Lettera Amorosa (fabulous version of Cathy Berberian) and Tirsi e Clori by Gardiner.
A new SACD has been announced of this work:
http://www.sa-cd.net/showtitle/4979
Now can anyone tell if it's the same (wonderful!) recording from before or a new recording?
Although probably my favourite Vespers recording, I'd be reluctant to buy it again for the new format. It's not like they would have recorded it in 5.1 back in 1988.
If new, I'm all over it.
Just a reissue:
Claudio MONTEVERDI Vespro della Beata Vergine
La Capella Reial / Jordi Savall
Here is the first re-issue from the Astrée-Naïve catalogue for 'Alia Vox Heritage'. One of Jordi Savall's legendary recordings, the Monteverdi Vespers was recorded in the Santa Barbara chapel in Mantova, Italy, the site of the première in 1610.The digipak is a work of art in itself and fully corresponds to Alia Vox's usual high production standards. The Alia Vox Heritage series will gradually release higlights from the recordings made by Jordi Savall between 1977 and 1997 for Astrée.
Alia vox 2SACDs AVSA9855
http://www.mdt.co.uk/MDTSite/product/choice_preorder/AVSA9855.htm (http://www.mdt.co.uk/MDTSite/product/choice_preorder/AVSA9855.htm)
Darn.
Thanks for the confirmation though.
I still might...
Relevant threads (of any significant length) on the old forum:
Claudio Monteverdi (1567-1643) (http://www.good-music-guide.com/forum/index.php/topic,10053.0.html)
Monteverdi Vespers - Savall or Jacobs? (http://www.good-music-guide.com/forum/index.php/topic,12109.0.html)
Monteverdi - L'Orfeo (Favola in Musica) (http://www.good-music-guide.com/forum/index.php/topic,10246.0.html)
Two new interesting recordings of Lo'Orfeo have been issued: conducted by Rinaldo Alessandrini (Naïve) and by Claudio Cavina (Glossa)
(http://cover6.cduniverse.com/MuzeAudioArt/Large/08/1005008.jpg) (http://multimedia.fnac.com/multimedia//images_produits/ZoomPE/8/3/1/8424562209138.jpg)
Any comments on these or on "old" favourites like: Jacobs (HM), Garrido (K617), Haïm (Virgin) or Harnoncourt (Teldec)?
(http://ecx.images-amazon.com/images/I/51T4JES332L._AA240_.jpg) (http://ecx.images-amazon.com/images/I/51N7O5x2A2L._AA240_.jpg)
(http://ecx.images-amazon.com/images/I/31ESF713Z3L._AA240_.jpg) (http://ecx.images-amazon.com/images/I/41EPC66RBYL._AA240_.jpg)
Seems to me we're absolutely spoilt for choice!
Over to you! 8)
Q
Not to overlook Gardiner.
(http://ecx.images-amazon.com/images/I/51MFRNHEE9L._AA240_.jpg)
Here are the recordings I have:
(http://g-ecx.images-amazon.com/images/G/01/ciu/ae/df/70d3224128a0c1614def6010._AA240_.L.jpg) (http://static.rateyourmusic.com/album_images/948454.jpg) (http://ecx.images-amazon.com/images/I/41M2CW6A6QL._AA240_.jpg)
and this one below, but with a different cover:
(http://ecx.images-amazon.com/images/I/41PBVZBANJL._AA240_.jpg)
Quote from: Bogey on December 05, 2007, 07:38:10 PM
Here are the recordings I have:
(http://g-ecx.images-amazon.com/images/G/01/ciu/ae/df/70d3224128a0c1614def6010._AA240_.L.jpg)
I was holding this in my hand at the library yesterday...should have gotten it, I suppose. Next time!
Quote from: gmstudio on December 06, 2007, 04:23:08 PM
I was holding this in my hand at the library yesterday...should have gotten it, I suppose. Next time!
Would like to hear your thoughts here after you give it a spin.
I know this is a recording thread, but this was a decent recap of Monteverdi himself.
http://www.npr.org/programs/specials/milestones/990519.motm.monteverdi.html
Just click on the audio button. :)
Quote from: Bogey on December 06, 2007, 05:13:45 PM
I know this is a recording thread, but this was a decent recap of Monteverdi himself.
http://www.npr.org/programs/specials/milestones/990519.motm.monteverdi.html
Just click on the audio button. :)
Bill - thanks for the link on
Monteverdi - I'm on my 'wireless' laptop in the den w/o any speakers; read the review - there's no doubt that he was one of the greatest 'pivotal' composers of all time, bridging the gap between the Renaissance & Baroque - he is certainly not appreciated by many for this role; in fact, I have only 3 or 4 discs of his music, mainly madigrals & some sacred works (don't own a copy of his
Orfeo - I'm just not much of an opera fan, and certainly not from that period - a 'lost cause', I guess for me - ;-) ).
Dave
Quote from: SonicMan on December 06, 2007, 08:26:07 PM
Bill - thanks for the link on Monteverdi - I'm on my 'wireless' laptop in the den w/o any speakers; read the review - there's no doubt that he was one of the greatest 'pivotal' composers of all time, bridging the gap between the Renaissance & Baroque - he is certainly not appreciated by many for this role; in fact, I have only 3 or 4 discs of his music, mainly madigrals & some sacred works (don't own a copy of his Orfeo - I'm just not much of an opera fan, and certainly not from that period - a 'lost cause', I guess for me - ;-) ).
Dave
Not sure what I would think of the opera either Dave. May need to test drive it before considering a purchase. However, more madigrals and sacred works are in order for me. However, I need to do some reading of what is out there vs. what I have. Thanks for the post.
Now Harry, you must have some Monteverdi bread crumbs on your shelf worth posting here. 0:)
You have asked for it, and this is just a selection mind...... ;D
2 ;D
3 ;D
4 ;D
5 ;D
6 ;D
7 ;D
8 ;D
Harry, they all look wonderful! :)
But I would be particularly interested in your opinion on these:
(http://www.good-music-guide.com/community/index.php?action=dlattach;topic=4478.0;attach=6068;image) (http://www.good-music-guide.com/community/index.php?action=dlattach;topic=4478.0;attach=6076;image)
Drasko was so kind to send me his impressions on Garrido's L'Orfeo (left) some time ago.
I hope he doesn't mind me posting it. Thanks again, Drasko! :)
QuoteIf I'd have to chose one word description it would be mellifluous.
It's not the most dramatic(al) reading, as Lilas already pointed out, and that could be perceived as its largest minus. On some occasions some of the recitatives take more solemn tone than I would like. Singing is good, Torres' baritone is nice lyric one, if not overtly expressive. Thankfully no one in the cast has an oxford accent (huuge plus in my book). Female parts are generally better than the male with Maria Cristina Kiehr producing the absolute highlight of entire opera, her Dal mio Permesso Amato (La Musica - prologue) is one of those 'oh my god' moments. I've just ordered another disc of her Monteverdi based just on that aria.
Orchestra is brilliant, again more mellifluous than dramatic, producing one of those golden, more blended sounds (e.g. more like Les Musiciens du Louvre than Le Concert Des Nations more brazen approach to baroque music making).
Q
Thank you for the posts Harry. Tonight I grabbed this one from the used bin. I have nothing like and am enjoying it as I post here.
(http://g-ecx.images-amazon.com/images/G/01/ciu/49/1c/f138d250fca0b41103642010._AA240_.L.jpg)
(http://www.good-music-guide.com/community/index.php?action=dlattach;topic=4478.0;attach=6079;image)That's not a young Kirkby on the far right is it Harry?
Yes Bill it is, fair and young Emma! :)
Quote from: Harry on December 08, 2007, 12:29:04 AM
Yes Bill it is, fair and young Emma! :)
Very pretty
Harry. But what of Garrido's L'Orfeo on K617 - do concur with Drasko's comments?
And would you recommend that 3-CD set "Selva Morale et Spirituale" on Zig Zag? :)
Q
Quote from: Que on December 08, 2007, 01:58:57 AM
Very pretty Harry. But what of Garrido's L'Orfeo on K617 - do concur with Drasko's comments?
And would you recommend that 3-CD set "Selva Morale et Spirituale" on Zig Zag? :)
Q
I would say Drasko is right in his review, with a few additions I have. I think its a lively performance with a good poise. Voices are not always to my liking but its good nevertheless.
The ZigZag recording of the Selva I rate very high and next to the Gorboz ( 6 cd's) I think its one of the best on the market.
But I have to listen to it again to give you more info, for its more than a year ago that I listen to it.
My brief notes from then were: Good voices, little vibrato, excellent instruments, well recorded, well blended, good tempi, fine production values.
More later. Have listen to it this morning, sampling key parts in it, and had to pull myself out, to get to my operettas.... ;D
Quote from: Harry on December 08, 2007, 03:13:48 AM
Have listen to it this morning, sampling key parts in it, and had to pull myself out, to get to my operettas.... ;D
Appreciate it,
Harry! :)
Q
Quote from: Que on December 07, 2007, 01:47:01 PM
Drasko was so kind to send me his impressions on Garrido's L'Orfeo (left) some time ago.
I hope he doesn't mind me posting it. Thanks again, Drasko! :)
Q
No, I don't mind but what you forgot to say is that it isn't very informed or learned opinion. Italian and French baroque are relatively recent interests of mine where I'm mostly just dabbling. More like an impression than serious review.
Anyhow, I got Alessandrini's L'Orfeo in the meantime. It is definitely more dramatic and exciting but less overtly beautiful reading than Garrido's. Alessandrini's tempos are generally faster and more dance like (at least in ritornelli) but flexible enough in the slow sections. Orchestra and chorus sound sparser and brasher, orchestra more harpsicord dominated and not nearly as lush as Garrido's, for example Garrido's regale (as accompaniment for Caronte's aria) sounds like true organ while Alessandrini's sounds more like massed kazoos. High point of Alessandrini's recording, for me, is Furio Zanasi as Orfeo. He is superb vocal actor, conveying from joyfulness through grief, hope and finaly resignation with gripping belief. Very beautiful voice as well (billed as tenor but more like a baritone to my ears). Rest of the cast is very good but there are some strange (to me at least) casting choices. Doubling roles is ok but while I find Sara Mingardo fabulous as Messaggiera, I feel she is to dark and ominous for Speranza and the choice that same singer (Anna Simboli) sings both Proserpina and Euridice makes fourth act somewhat awkward. But again, these are merely quibbles, it is very convincing, superb performance and imo perfect foil to Garrido.
I see that La Venexiana recording is currently cheap from US, so that might be my next stop, or perhaps Jacobs.
Quote from: Harry on December 08, 2007, 03:13:48 AM
Have listen to it this morning, sampling key parts in it, and had to pull myself out, to get to my operettas.... ;D
Thanks for taking one for
the team Harry. ;D
Quote from: gmstudio on December 08, 2007, 04:13:21 AM
Finally got this from the library...a beautiful way (so far) to start of a cold, snowy Saturday morning...
(http://g-ecx.images-amazon.com/images/G/01/ciu/ae/df/70d3224128a0c1614def6010._AA240_.L.jpg)
Excellent. A beautiful cold and snowy day here as well so I may give this one a re-spin as well. My wife puts a priority on Christmas music this time of year, but I have been telling here
all of the Monteverdi discs are just early Christmas music.....and it worked! :D
Quote from: Bogey on December 08, 2007, 06:04:47 AM
Excellent. A beautiful cold and snowy day here as well so I may give this one a re-spin as well. My wife puts a priority on Christmas music this time of year, but I have been telling here all of the Monteverdi discs are just early Christmas music.....and it worked! :D
A clever move Bill...... ;D
Quote from: Drasko on December 08, 2007, 05:09:56 AM
No, I don't mind but what you forgot to say is that it isn't very informed or learned opinion. Italian and French baroque are relatively recent interests of mine where I'm mostly just dabbling. More like an impression than serious review.
Thanks
Drasko, and your impressions did not strike me as dabbling - found them very helpful. :)
I have L'Orfeo in the recording by Harnoncourt. Very characterful, but in a rather strict and square "Germanic style. Having experienced the stunning results of excellent Italian HIP ensembles, I'm looking at the same direction as you for a new L'Orfeo: Alessandrini, Garrido or Cavina/Venexiana.
Found your feedback on the Alessandrini helpful as well :), and will be looking forward to your impressions on the Cavina!
Q
Quote from: Harry on December 08, 2007, 06:22:48 AM
A clever move Bill...... ;D
Ah, I showed her the post soon after Harry and she just laughed while simutaneously giving me "the eye". For the record, she does love "early Christmas" music.
Quote from: Que on December 09, 2007, 02:19:52 AM
Monteverdians! :)
I would welcome any comments in this recording of the Vespers:
(http://ecx.images-amazon.com/images/I/612NYRF28NL._SS500_.jpg)
Q
An OVPP performance but not as extrovert in expression as one would have hoped from their
recordings of the madrigals. Still very enjoyable though. The recording conducted by Ralf Otto
on Capriccio is the one that actually surprised me with its refreshing interpretation - not Italian at all but
has a stylistic solidity and integrality all to itself. Pregardien's singing here (early in his career) is
unforgettable.
Quote from: fl.traverso on December 09, 2007, 03:56:14 AM
An OVPP performance but not as extrovert in expression as one would have hoped from their
recordings of the madrigals. Still very enjoyable though. The recording conducted by Ralf Otto
on Capriccio is the one that actually surprised me with its refreshing interpretation - not Italian at all but
has a stylistic solidity and integrality all to itself. Pregardien's singing here (early in his career) is
unforgettable.
Thanks! :) When sampling on-line I did notice the clarity in singing (obviously due to the OVPP), as well as the - especially for Alessandrini - introvert approach, which I think I wouldn't mind at all.
Now we're on the subject, these are also on my shortlist - the
2nd Savall recording is
brand new a reissue of his recording on Astrée. (British and German(ic) Monteverdi have never caught on with me.) Again - comments are most welcome! :)
(http://www.cd-baroque.com/var/cdbaroque/storage/images/accueil/disques_k617/catalogue/monteverdi_musique_italienne/vespro_della_beata_vergine/4472-1-fre-FR/vespro_della_beata_vergine_full.jpg) (http://www.alapage.com/resize.php?&ref=953583&type=2&r=0&s=0&m=r)
Q
Quote from: Que on December 09, 2007, 04:45:11 AM
the 2nd Savall recording is brand new.
http://www.good-music-guide.com/community/index.php/topic,4181.0.html (http://www.good-music-guide.com/community/index.php/topic,4181.0.html)
Quote from: Drasko on December 09, 2007, 04:57:55 AM
http://www.good-music-guide.com/community/index.php/topic,4181.0.html (http://www.good-music-guide.com/community/index.php/topic,4181.0.html)
Aha, thanks! :)
A pity.. Still, I would consider it.
Q
Quote from: Que on December 09, 2007, 04:45:11 AM
(http://www.cd-baroque.com/var/cdbaroque/storage/images/accueil/disques_k617/catalogue/monteverdi_musique_italienne/vespro_della_beata_vergine/4472-1-fre-FR/vespro_della_beata_vergine_full.jpg) (http://www.alapage.com/resize.php?&ref=953583&type=2&r=0&s=0&m=r)
Q
I haven't heard the Garrido but read elsewhere that it is a letdown compared to what he achieved in the operas.
The Savall, of course, is a crowd pleaser - very popular ever since it was released. But I find it a bit too fuzzy both in acoustics and ensemble singing. That the Alia Vox has been remastered may alter that impression though.
(http://www.7digital.com/shops/assets/sleeveart//0709861304035_350.JPEG) (http://www.jpc.de/jpcng/classic/detail/-/hnum/2677295?rk=classic&rsk=hitlist)
samples by clicking the pictureQuote from: fl.traverso on December 09, 2007, 03:56:14 AM
An OVPP performance but not as extrovert in expression as one would have hoped from their recordings of the madrigals. Still very enjoyable though. The recording conducted by Ralf Otto on Capriccio is the one that actually surprised me with its refreshing interpretation - not Italian at all but has a stylistic solidity and integrality all to itself. Pregardien's singing there (early in his career) is unforgettable.
I find this recording pretty stunning. OVPP (one voice per part) and indeed definitely a small scale, intimate, introvert account, stripped of all big gestures and
grandeur. I was much more drawn in by the music and touched by its message. Despite Alessandrini's reputation (by some), this is anything
but highly charged or over-the-top: it's very sober and pious. The result is much more in Renaissance style, instead of the more common "grand" & opulent "High Baroque-ish" style of performing this - designed to shock and awe... But less is more! 8)
A recording to treasure IMO.
Review on Musicweb (http://www.musicweb.uk.net/classrev/2005/Mar05/monteverdi_vespro_OP30403.htm)
Q
Have not taken a listen, but thank you Que for getting the Monteverdi ball rolling again.
Quote from: Que on February 23, 2008, 07:36:36 AM
Despite Alessandrini's reputation (by some), this is anything but highly charged or over-the-top: it's very sober and pious. The result is much more in Renaissance style, instead of the more common "grand" & opulent "High Baroque-ish" style of performing this - designed to shock and awe... But less is more! 8)
Review on Musicweb (http://www.musicweb.uk.net/classrev/2005/Mar05/monteverdi_vespro_OP30403.htm)
Q
"To shock and awe" is not unique to high baroque - consider that Monteverdi claimed for himself a stylistic break ('stilo moderno';'seconda prattica') from the preceding period (high Renaissance, 'stilo antico';'prima prattica').
Does this cycle of Monteverdi Madrigals stand up to the competition (from Venexiana and Alessandrini)?
(http://ecx.images-amazon.com/images/I/31QJK1P1Q8L._AA206_.jpg)
I have ordered the 6th book by Alessandrini on Arcana. Are there any other killer individual recordings out there?
I'm not particularly fond of the Anthony Rooley set, myself, and I'm not familiar with the Alessandrini set.
La Venexiana are absolutely sublime in this repertoire. I would leap on it. Seriously. The seventh and eighth books, particularly, barely ever leave my desk. :D
Quote from: Robert Dahm on March 05, 2008, 12:46:46 AM
I'm not particularly fond of the Anthony Rooley set, myself, and I'm not familiar with the Alessandrini set.
La Venexiana are absolutely sublime in this repertoire. I would leap on it. Seriously. The seventh and eighth books, particularly, barely ever leave my desk. :D
As I have Alessandrini's 6th book, I think I go for the seventh and eighth books by La Venexiana. But how does the eighth book of Rene Jacobs compare to La Venexiana?
Quote from: rubio on March 05, 2008, 01:24:55 AM
As I have Alessandrini's 6th book, I think I go for the seventh and eighth books by La Venexiana. But how does the eighth book of Rene Jacobs compare to La Venexiana?
The Jacobs eighth book is fine. The La Venexiana one is (apart from my shameful lack of familiarity with Alessandrini) in my opinion unparalleled. Apart from being a great account of this particular repertoire, it is music-making at its very finest.
The sixth book of madrigals recorded by Alessandrini under Arcana is probably the finest rendition of this works i ever heard. If he had done the whole series there and then it could have been definitive. Alas, his new recordings aren't anywhere near as good.
La Venexiana is an interesting take, well recorded and packaged to boot, but bloody hell if their aren't slow. I'm still waiting for them to record the last book of madrigals by Gesualdo (*shakes fist*). Also, a word of warning about the Rooley set mentioned in this thread, it doesn't seem to contain the seventh book of madrigals, for whatever reason.
Did Alessandrini complete the cycle or he only recorded the sixth and eighth?
Quote from: bassio on March 05, 2008, 05:29:50 AM
Did Alessandrini complete the cycle or he only recorded the sixth and eighth?
Only Books 2, 4, 5, 6, 8 I believe.
Quote from: fl.traverso on March 05, 2008, 07:53:39 AM
Only Books 2, 4, 5, 6, 8 I believe.
I like Lamento della ninfa and I want to give listening to other madrigals by Monteverdi (although, me, like Harry, am not a fan of opera) Any other "very" special Madrigals (from the eighth or otherwise)?
[apart from Ariana (which is a fragment of a lost opera I guess and not a madrigal), and which I still did not sink in]
BTW Anyone here heard the recent Rene Jacobs account of the eighth?
Interestingly enough.. Jacobs was the countertenor in the great account of the Lamento della ninfa led by Leonhardt. And after years, he now comes to lead his own record.
Quote from: bassio on March 06, 2008, 12:30:23 PM
[apart from Ariana (which is a fragment of a lost opera I guess and not a madrigal), and which I still did not sink in]
There is actually Monteverdi's own madrigal arrangement of Arianna's lament.
From Answers website: http://www.answers.com/topic/l-arianna?cat=entertainment (http://www.answers.com/topic/l-arianna?cat=entertainment)
"The lamento was preserved because Monteverdi later re-published it as a standalone piece in 1623. He also wrote two re-arrangements: one as a five-voice madrigal, published as part of his Sixth Book of Madrigals in 1614, and one with a new religious text in Latin, "Pianto della Madonna", published in his collection Selva morale e spirituale in 1641."
Recommendations please. What is your favorite works of these? And the respective recommended recordings. 0:)
L'Orfeo is probably the most "popular" Monteverdi opera that survived time. There's also Il Ritorno d'Ulysse alla Patria. I don't have particular recording in mind, but I seem to remember there are DVD suggestions in the Opera DVD thread.
Orfeo is Monteverdi's first opera, and shows the influence of his dramatic Madrigals. But Il Rittorno d'Ulisse in Patria and La Coronazione di Poppea (it seems that only some of the music is from Monteverdi) are modern operas, very theatrical.
My favorite Orfeo is the one of Harnoncourt (first version, with Kozma and Berberian).
Ulisse has a very good version directed by Rene Jacobs, with Pregardien and a very impressive Bernarda Fink.
Regarding Poppea, Harnoncourt with Donath, Berberian and Söderstrom, is extraordinary.
http://www.youtube.com/v/m6JOaxyl8J4
[asin]B0046CUK4Y[/asin]
Like one of my favourite recordings of this music (cond. by Ralf Otto), Pluhar finished the whole set on one CD (plus a bonus DVD). It's a jog! ;)
Snapped up a trifecta of Monte recordings tonight:
(http://ecx.images-amazon.com/images/I/51oH%2BViAQWL._SL500_AA300_.jpg)
Playing the one above....outstanding!
and these two:
(http://ecx.images-amazon.com/images/I/51BB4DK4S4L._SL500_AA300_.jpg) (http://ecx.images-amazon.com/images/I/51GQ3E7ZRQL._SL500_AA300_.jpg)
Missa in illo Tempore
Does anyone have any strong preferences when it comes to recordings? I was considering Herreweghe or The Sixteen (those two I can get most easily).
Quote from: Drasko on March 02, 2011, 11:20:08 AM
I was considering Herreweghe or The Sixteen (those two I can get most easily).
Probably better than ones from 'Baroque' conductors (eg. Robert King, Masaki Suzuki) anyway?
The Missa in illo Tempore isn't Baroque, its in full Renaissance style, after Nicolas Gombert, who's probably one of the most hard core contrapuntist of his day (a significant choice for Monteverdi to base his mass on).
Quote from: Josquin des Prez on March 03, 2011, 01:17:10 AM
The Missa in illo Tempore isn't Baroque ...
I'm pretty sure we already had gotten that. That's why FideLeo comented that conductors/groups I was considering (Herreweghe & The Sixteen) are probably better choice than conductors who specialize mostly in baroque, like King and Suzuki. Now that we got comprehension matters out of picture do you have preferred recording?
I borrowed Monteverdi's Vespers of 1610 from the library last week and heard it for the first time, & I was totally gobsmacked!!! What an amazing work - beautiful, innovative, unpredictable, perfectly crafted (I could go on and on). The recording I have been listening to is the one with Rinaldo Alessandrini at the helm on the Naive label. The counterpoint in this work, the odd harmonies and the imaginative use of the instruments and voices are unlike anything I've heard ever before. There were a number of performances of this work in Sydney last year for it's 500th anniversary which I missed out on for a number of reasons, the main one being that I wasn't ready. I was a bit daunted by the complexity of this music. Now I regret not going, because I'm totally taken aback by this masterpiece now.
I particularly like Monteverdi's use of an "echo" effect in a number of the sections, particularly in the concluding 2nd Magnificat, which is truly magnificent & more. Most composers might do a handful of interesting things within the one work, but Monteverdi constantly hands out these little pearls to the listener. There are dozens, if not hundreds of moments of pure genius in this music. The only other time I've wondered whether music is actually humanly possible to compose was when listening to Beethoven's late quartets, and Monteverdi's Vespers are definitely in that high echelon. Apart from those works by Beethoven, Monteverdi's Vespers beat anything else that I have heard hands down. But I have much to discover yet - J. S. Bach's Mass in B minor, Palestrina's masses and Haydn's The Creation are all on my hit-list now. The latter is actually coming up in live performance here in Sydney at the end of May, I'll definitely borrow that as well before going to the concert. Over the years, I've mainly stuck to music composed after 1800 or so, and going back like this has been pure joy. So much great things to discover!...
Quote from: Sid on May 03, 2011, 11:34:22 PM
I borrowed Monteverdi's Vespers of 1610 from the library last week and heard it for the first time, & I was totally gobsmacked!!! What an amazing work - beautiful, innovative, unpredictable, perfectly crafted (I could go on and on). The recording I have been listening to is the one with Rinaldo Alessandrini at the helm on the Naive label. The counterpoint in this work, the odd harmonies and the imaginative use of the instruments and voices are unlike anything I've heard ever before. There were a number of performances of this work in Sydney last year for it's 500th anniversary which I missed out on for a number of reasons, the main one being that I wasn't ready. I was a bit daunted by the complexity of this music. Now I regret not going, because I'm totally taken aback by this masterpiece now.
I particularly like Monteverdi's use of an "echo" effect in a number of the sections, particularly in the concluding 2nd Magnificat, which is truly magnificent & more. Most composers might do a handful of interesting things within the one work, but Monteverdi constantly hands out these little pearls to the listener. There are dozens, if not hundreds of moments of pure genius in this music. The only other time I've wondered whether music is actually humanly possible to compose was when listening to Beethoven's late quartets, and Monteverdi's Vespers are definitely in that high echelon. Apart from those works by Beethoven, Monteverdi's Vespers beat anything else that I have heard hands down. But I have much to discover yet - J. S. Bach's Mass in B minor, Palestrina's masses and Haydn's The Creation are all on my hit-list now. The latter is actually coming up in live performance here in Sydney at the end of May, I'll definitely borrow that as well before going to the concert. Over the years, I've mainly stuck to music composed after 1800 or so, and going back like this has been pure joy. So much great things to discover!...
Yes Monteverdi is better better than Bach . . . for opera ;)
You may like Monteverdi's other religious work. And the madrigals, and Tancredi of course. And the operas. Some favourite recordings:
(http://cover7.cduniverse.com/MuzeAudioArt/030/35278.jpg)
(http://cover7.cduniverse.com/MuzeAudioArt/030/35277.jpg)
[asin]B00004SRGC[/asin] (for the madrigals with Cueonod)
[asin]B000L438ZY[/asin]
[asin]B000F3T3CI[/asin]
[asin]B00019HP1M[/asin]
[asin]1561270539[/asin]
Quote from: Mandryka on May 04, 2011, 07:11:28 AM
Yes Monteverdi is better better than Bach . . . for opera ;)
I sort of 'vote with my feet' . . . I listen to the Vespro della Beata Vergine much oftener than I do the Mass in b minor.
@ Mandryka -
Thanks for your excellent recommendations - you sure know your Monteverdi! The 2 disc set of Poppea & the madrigals looks like a very good deal - I'll see if I can get it. I'm always into something with some "extras" and bonus tracks. The downside with these budget sets is that they have no libretto, which is important for me when I'm listening to opera (which I rarely do, it takes an effort to understand what is being sung, the plot, etc.). Anyway, maybe I can get the libretto online.
I actually do have a disc of Monteverdi's Tasso Madrigals on the Brilliant Label (also directed by Alessandrini). That was my first substantial exposure to Monteverdi, and I liked them a lot, but the Vespers have grabbed me even more (perhaps because there are instruments in that, not only voices). As I wrote in my earlier post, I'm still a bit of a novice in the choral/vocal area. In recent years, I have heard for the first time choral works by guys like Vivaldi, Mozart, Byrd, Tallis, Victoria, Handel, Faure, Ligeti, Lauridsen, Whitacre, Arvo Part, Bruckner, Gabrieli, Gounod, Puccini, Verdi, etc. My next step is get into more of the seminal works - next up will be Beethoven (Missa Solemnis), J. S. Bach (Mass in B minor), Haydn (The Creation), Palestrina's masses & I also want to explore other Renaissance composers like Lassus and Ockeghem...
Quote from: Apollon on May 04, 2011, 07:17:48 AM
I sort of 'vote with my feet' . . . I listen to the Vespro della Beata Vergine much oftener than I do the Mass in b minor.
I'll have to reserve my judgement in comparing Monteverdi's
Vespers with J. S. Bach's
Mass in B minor (I've only heard excerpts from the latter, but I plan to hear it soon). In terms of comparing their styles in a general way (even though it's difficult to do as Monteverdi came before Bach), I l ike Monteverdi & the other Italians more than Bach. There seems to be more "warmth" in the Italian style - & I include Handel in this as well, because he lived & worked in Italy for a number of years, and I can clearly hear how the Italian style rubbed off on him also...
Quote from: Apollon on May 04, 2011, 07:17:48 AM
I sort of 'vote with my feet' . . . I listen to the Vespro della Beata Vergine much oftener than I do the Mass in b minor.
But they are so differtent. The one so incenseladen, mystically celebratory Catholic, the other so structured and fundamentally Prothestant (despite of course being part of the Catholic Lithurgy).
Book 4 of the Madrigals is really special for me -- beautiful a capella songs. I know them through Leppard's recording with the Glyndbourne chorus, including Bob Tear -- the record has been sending me in ecstasy recently.
But surely there must be a good HIP version by now? There must have been discoveries about Monteverdi performance style, even for unaccompanied music like this, which have inspired fresh interpretations over the past 20 year. My response to HIP Monteverdi has been mixed -- Ensemble Elyma's recordings have been very rewarding I think (maybe the best Poppea on record?). But they haven't recorded a Bk 4 for the madrigals. People have mentioned Alessandrini's in this thread, but is it good?
Is there are really successful, passionate, beautiful, HIP Bk 4 on record?
By the way, for the Vespers I continue to be just overwhelmed by Jurgen Jurgen's first recording -- not the one he made with Harnoncourt. I've just bought Ensemble Elyma's but haven't really given it the time to develop a view.
Quote from: Mandryka on September 17, 2011, 11:35:30 PM
Is there are really successful, passionate, beautiful, HIP Bk 4 on record?
Try this:
http://www.mediafire.com/?23aodxmxkggxmzn
Si ch'io vorrei morire (libro IV) - La Venexiana - live in Corsica
and another one:
http://www.mediafire.com/?639wlbb3fd8l9nz
Sfogava con le stelle (libro IV) - La Venexiana - live in Corsica
Downloaded and I'm playing Si ch'io vorrei morire as I type. I like it. There's a sort of astringent quality which you don't get in Leppard, and also drama . Thanks a lot.
Is that from here?
http://pixhost.me/avaxhome/d7/9b/00099bd7.jpeg
Have you tried this one?
(http://ecx.images-amazon.com/images/I/510O-Gk8OeL._SL500_AA300_.jpg)
Such wonderful music! I can see that La Venexiana's record of Book 2 is on spotify so I may play it later. I don't know Bk 2 at all.
I would have thought that with a name like that they'd be a girl band -- but no :)
Both come from that upper pictured disc, concert from Corsica where they sung selections from most books.
Unfortunately haven't got the studio recording (lower pictured disc). I've been wanting to get all 9 books by La Venexiana for years now, but funds are running low.
QuoteSuch wonderful music! I can see that La Venexiana's record of Book 2 is on spotify so I may play it later. I don't know Bk 2 at all.
Lyrics and their delivery are very important with XVI century Italian madrigals, so do try to find texts with translations before listening on spotify. If you can't, let me know.
Quote from: Mandryka on November 01, 2011, 01:39:52 PM
Pluhar's Monteverdi improvisations.
(http://ecx.images-amazon.com/images/I/51YNEU1W75L._SL500_AA300_.jpg)
Quote from: mc ukrneal on November 01, 2011, 02:09:25 PM
Ho-boy. It's different. It's not for everybody. The second main review on Amazon gives a fairly accurate review I think (Mr. Evil). Which leads me back to - it's different (though a very high level of playing and singing in any case). Here are a couple of longer excerpts from youtube: http://www.youtube.com/watch?v=qm641MrwPN0&feature=related (http://www.youtube.com/watch?v=qm641MrwPN0&feature=related) and http://www.youtube.com/watch?v=020L1rGjnng&feature=related (http://www.youtube.com/watch?v=020L1rGjnng&feature=related). There were more to listen to if you wanted a wider selection of pieces. I think for the most part it works.
Quote from: Opus106 on November 02, 2011, 01:34:33 AM
If you haven't already, you should check out their live version (also available on YouTube) of Ohime, chio cado. :D
I found it on spotify actually and I've listened once. Initial reactions: it's fun. Nice.
It's a bit fudgy though, sometimes. Very good fudge, but fudge nevertheless. I was hoping that the cornetto "improvisations" would be a bit more challenging. But no.
I can imagine putting this on to comfort myself after a beastly day at work, listening to it while eating chocolate and drinking too much wine. It is
anodyne.
Is there any evidence that improvisation was part of authentic performance practice?
Quote from: Drasko on September 18, 2011, 01:22:20 AM
and another one:
http://www.mediafire.com/?639wlbb3fd8l9nz
Sfogava con le stelle (libro IV) - La Venexiana - live in Corsica
Quote from: Drasko on September 18, 2011, 09:11:37 AM
Lyrics and their delivery are very important with XVI century Italian madrigals, so do try to find texts with translations before listening on spotify. If you can't, let me know.
Well the lyrics of
Si ch'io vorrei morire are:
How I could wish for death to come,
now, as I kiss with love
the soft lips of my beloved!
Oh dear sweet tongue,
give me excess of honey
that on this breast I may drown in sweetness
Ah, beloved, to your white breast
strangle me until I faint
Ah lips, ah kisses, ah tongue!
Ah my tongue repeat
How I could wish for death to come!
In Shakespearean imagery, and in John Donne, death is often code for orgasm. I'm guessing the same for Monteverdi.
I suppose one question about
Si ch'io vorrei morire is how ardently you take it, and interpretations seem to vary tremendously in that, I found an extraordinary LP by New York Pro Musica where the whole thing is taken very very erotically, like a lover consumed, burning with desire for orgasm. Let me know if you want me to send you a link to it -- it's very interesting.
I certainly prefer that live
Si ch'io vorrei morire from La Venexiana to Alessandrini, who treats the opening as a sort of yearning pining dream, in my opinion too sentimentally.
Quote from: Mandryka on November 02, 2011, 10:47:32 PM
I suppose one question about Sfogava con le stelle is how ardently you take it, and interpretations seem to vary tremendously in that, I found an extraordinary LP by New York Pro Musica where the whole thing is taken very very erotically, like a lover consumed, burning with desire for orgasm. Let me know if you want me to send you a link to it -- it's very interesting.
Sure, why not. Thanks!
btw: those are lyrics for Si ch'io vorrei morire
Quote from: Drasko on November 04, 2011, 05:23:44 AM
Sure, why not. Thanks!
btw: those are lyrics for Si ch'io vorrei morire
Ah -- edited
Quote from: Drasko on September 18, 2011, 09:11:37 AM
Lyrics and their delivery are very important with XVI century Italian madrigals
If you can't understand Italian, i have no idea how that can possibly be an issue with anybody.
Madrigal question
Is there a "greatest hits" type of compilation of the madrigals, consisting of 1 or 2 CDs?
I don't know if I'm going to like this music yet, so I'd like to just put a toe into the water.
I don't know about greatest hits but I like the compilation albums from Ensemble Elyma and the one from Haim
(http://2.bp.blogspot.com/_pSubgvLAyjM/TEETduS4y7I/AAAAAAAAAe0/8YaiUkfht0c/s400/Combatimento-Elyma.jpeg) (http://t1.gstatic.com/images?q=tbn:ANd9GcRk2SAUFY65KDIxcgoU8iG1DPlQCNtwektaIMnnzzwTDejKnPAS)
Both clearly contain Tancredi, but that's no hardship.
An alternative is to buy a couple of key books -- Book 4 and/or Book 8 I would suggest.
Quote from: Velimir on November 21, 2011, 05:23:16 AM
Madrigal question
Is there a "greatest hits" type of compilation of the madrigals, consisting of 1 or 2 CDs?
I don't know if I'm going to like this music yet, so I'd like to just put a toe into the water.
(http://www.mdt.co.uk/public/pictures/products/standard/GCDP30912.jpg)
http://www.mdt.co.uk/MDTSite/product//GCDP30912.htm
La Venexiana live in Corsica, singing selections from all books. I've uploaded two madrigals from that CD earlier in this thread, try those as a sample.
Quote from: Velimir on November 21, 2011, 05:23:16 AM
Madrigal question
Is there a "greatest hits" type of compilation of the madrigals, consisting of 1 or 2 CDs?
I don't know if I'm going to like this music yet, so I'd like to just put a toe into the water.
I'd go with this one:[asin]B0000042HQ[/asin]
It has the fourth and fifth books complete (with four other madrigals as "filler," from the seventh and eighth books), so his madrigal writing was competely assured, and the madrigals are all 5-vv. unaccompanied, designed for use at home by talented amateurs.
Mind you, I love the eighth book, it's a masterpiece; for the novitiate, though, as a whole it gives a not representative idea of the madrigal, because of the stile accompagnato, &c.
Quote from: karlhenning on November 24, 2011, 03:49:55 AM
I'd go with this one:
[asin]B0000042HQ[/asin]
It has the fourth and fifth books complete (with four other madrigals as "filler," from the seventh and eighth books), so his madrigal writing was competely assured, and the madrigals are all 5-vv. unaccompanied, designed for use at home by talented amateurs.
Mind you, I love the eighth book, it's a masterpiece; for the novitiate, though, as a whole it gives a not representative idea of the madrigal, because of the stile accompagnato, &c.
I would agree about the performance.!
Quote from: Brewski on January 03, 2013, 06:59:13 AM
The Monteverdi with Robert King also sounds great; I could use a good recording of the piece, since I don't have one.
--Bruce
Bruce
My go-to recording is the Gardiner:
[asin]B0000057DL[/asin]
The Herreweghe is also recommended - now available on a budget release:
[asin]B0031B7ERC[/asin]
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.
[asin]B000231VD0[/asin]
Quote from: KeithW on January 03, 2013, 07:32:02 AM
Bruce
My go-to recording is the Gardiner:
[asin]B0000057DL[/asin]
The Herreweghe is also recommended - now available on a budget release:
[asin]B0031B7ERC[/asin]
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.
[asin]B000231VD0[/asin]
Keith, thanks so much for these suggestions. Looks hard to choose between them, since I have had excellent experiences with all three conductors elsewhere. Have a number of Gardiner's recordings, just heard Herreweghe and his group here around 2010 (part of the White Light Festival), and Alessandrini is my current fave for Baroque music.
--Bruce
Quote from: Brewski on January 03, 2013, 06:59:13 AM
Un-shrink it! ;D When I was mulling over what to play the other night, that was the runner-up. Norman's version of the Four Last Songs is also a favorite. The Monteverdi with Robert King also sounds great; I could use a good recording of the piece, since I don't have one.
[asin]B000003D2F[/asin]
You're welcome ; )
Quote from: KeithW on January 03, 2013, 07:32:02 AM
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.
[asin]B000231VD0[/asin]
Bruce, that's the one you need IMO. 8)
Useful comparison could be Savall on Alia Vox.
Q
Quote from: Que on January 03, 2013, 11:49:47 AM
Bruce, that's the one you need IMO. 8)
Useful comparison could be Savall on Alia Vox.
Q
Rego, thanks for the additional Alessandrini vote. I really do like him in those Vivaldi recordings and in the Bach Brandenburgs.
But argh...there's also a Vespers with
Savall? (Where's the "pulling hair out" icon? ;D)
--Bruce
Quote from: Brewski on January 03, 2013, 12:03:58 PM
Rego, thanks for the additional Alessandrini vote. I really do like him in those Vivaldi recordings and in the Bach Brandenburgs.
But argh...there's also a Vespers with Savall? (Where's the "pulling hair out" icon? ;D)
--Bruce
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.
[asin]B0046CUK4E[/asin]
Perhaps we need a blind listening of the Vespers :D
Quote from: KeithW on January 03, 2013, 12:22:04 PM
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.
[asin]B0046CUK4E[/asin]
Perhaps we need a blind listening of the Vespers :D
It would be an enlightening comparison. ;D 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.
Quote from: Que on January 03, 2013, 11:49:47 AM
Bruce, that's the one you need IMO. 8)
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. :)
Quote from: Gordon Shumway on January 03, 2013, 01:51:12 PM
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. :)
(http://cps-static.rovicorp.com/3/JPG_500/MI0001/069/MI0001069495.jpg)
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. :D 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...
Quote from: Papy Oli on January 03, 2013, 12:03:33 PM
Good evening all :)
Back on the right side of the channel last night with the Atterberg, Rangstrom, and Tallis boxsets waiting in my letterbox ;D
and also this Scarlatti CD being played now :
[asin]B005E5MVTY[/asin]
Sonatas for viola d'Amore (Valerio Losito) and harpsichord (Andrea Coen).
This is stunning. buy it ! 0:)
Quote from: karlhenning on January 03, 2013, 12:07:22 PM
(* pounds the table *)
+1 8) A really cute disc that shows that Domenico could do more than just keyboard sonatas. Coen is his usual outstanding self.
Q
Quote from: Que on January 03, 2013, 09:41:24 PM
(http://cps-static.rovicorp.com/3/JPG_500/MI0001/069/MI0001069495.jpg)
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. :D 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).
Quote from: KeithW on January 03, 2013, 07:32:02 AM
My go-to recording is the Gardiner:
[asin]B0000057DL[/asin]
[....]
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.
Quote from: Que on January 03, 2013, 09:41:24 PM
(http://cps-static.rovicorp.com/3/JPG_500/MI0001/069/MI0001069495.jpg)
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. :D 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
Quote from: Gordon Shumway on January 04, 2013, 03:26:38 AM
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.
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. ;D 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:
[asin]B0000022BQ[/asin]
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. (http://artekearlymusic.org/orfeo.html)) 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!
Quote from: Geo Dude on June 16, 2013, 10:21:30 AM
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.
(http://ecx.images-amazon.com/images/I/51YNEU1W75L._SY300_.jpg)
My newest
Orfeo purchase arrived a few days ago, in fact just now started it for a first listen...
[asin]B007X8ZDAY[/asin]
Quote from: TheGSMoeller on June 16, 2013, 05:55:05 PM
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.
(http://ecx.images-amazon.com/images/I/51YNEU1W75L._SY300_.jpg)
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:
[asin]B005GFSJMA[/asin]
Further pushing into the boundaries of jazz with bassist Steve Swallow. . .
Quote from: TheGSMoeller on June 16, 2013, 05:55:05 PM
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. :P
Quote from: Geo Dude on June 18, 2013, 07:28:49 AM
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.
Quote from: TheGSMoeller on June 16, 2013, 05:55:05 PM
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.
Ahi, caso acerbo!
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.
Aye, though I am reminded that I have as yet entirely too few of the madrigals loaded onto the external hard drive . . . .
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.
(http://img.tapatalk.com/d/13/06/25/y2e8egeg.jpg)
Quote from: TheGSMoeller on June 18, 2013, 08:28:32 AM
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. :)
Quote from: Gordon Shumway on June 25, 2013, 01:32:00 PM
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.
Quote from: TheGSMoeller on June 25, 2013, 01:46:57 PM
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. :)
[asin]B0000060D6[/asin]
Any recommendations on complete (or near complete) sets of the Madrigals to complement the Rooley set? I don't mind buying them volume by volume.
Quote from: Geo Dude on June 26, 2013, 12:45:54 PM
Any recommendations on complete (or near complete) sets of the Madrigals to complement the Rooley set? I don't mind buying them volume by volume.
Currently, Claudio Cavina and his group
La Venexiana (Glossa) are often considered the best option.
Marco Longhini and his ensemble
Delitiae Musicae (Naxos) are excellent, too. But you should decide if you like this ensemble without female voices. Some madrigals include instruments in this series. :)
Thanks for the tip. I think I'll have to mix up Venexiana and and Delitiae Musicae. $50 for a two disc set (7th book of Madrigals) is a bit rich for my blood.
I picked up this recording based on Giordano Bruno's review--the price didn't hurt either--a first listen today reveals pure brilliance.
[asin]B00008X5BZ[/asin]
It will be interesting to compare this to the other recordings on hand (and the one by Parrott that is in the mail).
Quote from: Gordon Shumway on June 26, 2013, 01:37:03 PM
Currently, Claudio Cavina and his group La Venexiana (Glossa) are often considered the best option.
Marco Longhini and his ensemble Delitiae Musicae (Naxos) are excellent, too. But you should decide if you like this ensemble without female voices. Some madrigals include instruments in this series. :)
The later madrigals do include instruments, just to be clear; that is not a liberty on the part of Marco Longhini.
bumpity-bump
I have my eye on another recording of Monteverdi's SELVA MORALE; this time, a 3cd collection from Zigzag Territoires, by Ensemble Akademia dir. Françoise Lasserre.
[asin]B0000T6KF0[/asin]
I have seen no mention at GMG of this collection as a whole.
I've heard different gatherings of (some of) the music by William Christie (HM), Corboz/Lausanne (the biggest at ~7 hours, but apparently still missing some pieces), Bernius/Stuttgart, and Garrido/Elyma.
I heard some samples of the Junghanel/Colln that sounded great; I'm assuming I'll get another shot at a hardcopy of that, so if it's a better proposition than the Lasserre, I guess I will wait for the Junghanel.
As mentioned on the listening thread, I just listened to the Vespers led by Bernius on DHM. It's part of that label's 10-CD "Italian Baroque Music Edition" which was recommended by several gmg'ers (but I can't find those posts now). I thought it was stunning though I don't know how it compares to other recordings.
Interesting Cd review artlicle on Combattimento here (in French)
http://operacritiques.free.fr/css/index.php?2009/06/10/1277-il-combattimento-di-tancredi-e-di-clorinda-discographie
The Cantata Singers (http://www.google.com/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=2&cad=rja&ved=0CDQQFjAB&url=http%3A%2F%2Fwww.cantatasingers.org%2Fseason%2Fconcert2.htm&ei=SpqUUtGODZXWoAT814CAAg&usg=AFQjCNEiHXM_c5jN2weTxPM-t-ByqqOFtw&sig2=bCTPlZ-3BTvkUtBA0auy4w) here in Boston will sing the Vespers soon.
Quote from: karlhenning on November 26, 2013, 04:01:38 AM
The Cantata Singers (http://www.google.com/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=2&cad=rja&ved=0CDQQFjAB&url=http%3A%2F%2Fwww.cantatasingers.org%2Fseason%2Fconcert2.htm&ei=SpqUUtGODZXWoAT814CAAg&usg=AFQjCNEiHXM_c5jN2weTxPM-t-ByqqOFtw&sig2=bCTPlZ-3BTvkUtBA0auy4w) here in Boston will sing the Vespers soon.
Will you be in attendance?
Hm, seems I sure ought to be . . . .
Quote from: karlhenning on November 27, 2013, 03:47:37 PM
Hm, seems I sure ought to be . . . .
Just not a lot of live Claud to be had these days.
You're right, and they are singing it at at time when I am not beholden anywhere else. Might be able to score a comp, too.
Quote from: Octave on October 11, 2013, 12:03:54 AM
bumpity-bump
I have my eye on another recording of Monteverdi's SELVA MORALE; this time, a 3cd collection from Zigzag Territoires, by Ensemble Akademia dir. Françoise Lasserre.
[asin]B0000T6KF0[/asin]
I have seen no mention at GMG of this collection as a whole.
I've heard different gatherings of (some of) the music by William Christie (HM), Corboz/Lausanne (the biggest at ~7 hours, but apparently still missing some pieces), Bernius/Stuttgart, and Garrido/Elyma.
I heard some samples of the Junghanel/Colln that sounded great; I'm assuming I'll get another shot at a hardcopy of that, so if it's a better proposition than the Lasserre, I guess I will wait for the Junghanel.
La Venexiana (Glossa) and The Sixteen (Coro) have also recorded comprehensive sets worth of being considered. Anyway, I don't know if The Sixteen have completed (?) their collection (so far as I know they had recorded 3 discs). :)
Quote from: Pat B on October 25, 2013, 09:18:37 AM
As mentioned on the listening thread, I just listened to the Vespers led by Bernius on DHM. It's part of that label's 10-CD "Italian Baroque Music Edition" which was recommended by several gmg'ers (but I can't find those posts now). I thought it was stunning though I don't know how it compares to other recordings.
It's exactly what I thought when I heard it. I have several recordings of the same work and Bernius, as usual, stands very well any comparison. :)
Quote from: Gordo on November 28, 2013, 04:57:01 AM
La Venexiana (Glossa) and The Sixteen (Coro) have also recorded comprehensive sets worth of being considered. Anyway, I don't know if The Sixteen have completed (?) their collection (so far as I know they had recorded 3 discs). :)
From what I've read (I recently looked into recordings of these works as well) the match is between Garrido's set on Ambronay and La Venexiana.
[asin]B000A7IJN8[/asin]
Q
Quote from: Que on November 28, 2013, 09:17:10 PM
From what I've read (I recently looked into recordings of these works as well) the match is between Garrido's set on Ambronay and La Venexiana.
[asin]B000A7IJN8[/asin]
Q
Curiously, I forgot Garrido's set, although it was the last recording of this work that I purchased.
Although I usually think highly of Garrido's projects, his
Selva Morale lets me a bit cold. But I need other listen.
IMO, the the match is between Cavina and Lasserre.
Quote from: Bogey on November 27, 2013, 06:45:58 PM
Just not a lot of live Claud to be had these days.
Bought my tickets.
Quote from: Gordo on November 30, 2013, 05:49:39 PM
Curiously, I forgot Garrido's set, although it was the last recording of this work that I purchased.
Although I usually think highly of Garrido's projects, his Selva Morale lets me a bit cold. But I need other listen.
IMO, the the match is between Cavina and Lasserre.
Thanks, very helpful. :) I listened to samples of the Garrido set before, and it did not quite grab me. I haven't checked Lasserre yet.
Quote from: Mandryka on November 25, 2013, 10:51:12 PM
Interesting Cd review artlicle on Combattimento here (in French)
http://operacritiques.free.fr/css/index.php?2009/06/10/1277-il-combattimento-di-tancredi-e-di-clorinda-discographie
Thank you for posting that - real eyeopener! :) I found particularly the "dark horse" of the top two chosen recordings of interest:
[asin]B000FTBO5Q[/asin]
Q
Thanks Gordo and Que for the SELVA discussion.
Vespers time!
(http://img.tapatalk.com/d/13/12/08/upy6adyh.jpg)
Quote from: karlhenning on December 07, 2013, 04:02:33 PM
Vespers time!
Tomorrow it will be!
http://www.youtube.com/v/AINrIk9TtbU
Quote from: karlhenning on December 07, 2013, 04:02:33 PM
Vespers time!
(http://img.tapatalk.com/d/13/12/08/upy6adyh.jpg)
Nice for you. I've heard it live a couple of times, an overwhelming experience. Though visiting Venice twice, I've never succeeded in hearing it live in St Marks though, that would have been killer !
It was a blast! All the singing was delicious, the strings and recorders were wonderful, the brass generally good (was a passage when you had to wonder where the cornettos' intonation went). Fabulous piece. There was a pre-concert demo-lecture which, truth to tell, was no better than it probably needed to be. Three members of the Libella Quartet (they who presently own Annabel Lee) took part (and all of them had solo parts here and there), and I knew at least two others among the ranks of the Cantata Singers.
Quote from: karlhenning on December 09, 2013, 04:48:55 AM
It was a blast! All the singing was delicious, the strings and recorders were wonderful, the brass generally good (was a passage when you had to wonder where the cornettos' intonation went). Fabulous piece.
Glad I wasn't the only one noticing. I also heard some intonation problems between the two violins; ditto for the vocal soloists, some quite good, others less so. I found the
Audi coelum the high point of the concert in all respects. The
Ave maris stella had me cringing during some passages.
Nice catch, Karl.
Quote from: karlhenning on December 09, 2013, 04:48:55 AM
It was a blast! All the singing was delicious, the strings and recorders were wonderful, the brass generally good (was a passage when you had to wonder where the cornettos' intonation went). Fabulous piece. There was a pre-concert demo-lecture which, truth to tell, was no better than it probably needed to be. Three members of the Libella Quartet (they who presently own Annabel Lee) took part (and all of them had solo parts here and there), and I knew at least two others among the ranks of the Cantata Singers.
Awesome!
Quote from: petrarch on December 13, 2013, 05:20:37 PM
Glad I wasn't the only one noticing. I also heard some intonation problems between the two violins; ditto for the vocal soloists, some quite good, others less so. I found the Audi coelum the high point of the concert in all respects. The Ave maris stella had me cringing during some passages.
So cool to see that you both caught this live.
Thank you both for the updates. I look forward to seeing the Vespers sometime!
Pulling this out of another composer thread (Handel in this case):
[asin]B005GFSJMA[/asin]
Quote from: Octave on March 30, 2014, 10:19:03 PM
Godard seems to be a versatile and adventurous musician, and I don't know that side of his work (the Monteverdi record) at all. I wonder if it would make a good double-feature with that allegedly really cool ~jazzy Monteverdi record by Christina Pluhar & co. (the one on Virgin).
Octave - my guess is you are referring to this one from Pluhar/L'Arpeggiata:
[asin]B001KYJA6K[/asin]
This is indeed a wonderful, jazzy, take on Monteverdi. I spin it all the time! I'd say that you are onto something with this pairing! ;)
(previously posted in recordings you are considering, but figured that it really belongs here :))
Any thoughts/recommendations/impressions on Harnoncourt's Monteverdi recordings? This comes out in May..
[asin] B00IWVDHAO[/asin]
Quote from: sanantonio on March 05, 2015, 06:09:33 AM
I am having trouble finding all the books of madrigals by La Venexiana. Does a complete box exist (the Alessandrini Monteverdi box is mandatory, IMO), were all books even recorded? I am also interested in their Gesualdo recordings. Anyone have links to share?
[asin]B00L5J4QHS[/asin]
This recent release by Concerto Italiano is worth checking out ~
[asin]B00JJ6QEEC[/asin]
I've had this in heavy rotation since I purchased it. There's also an interesting sort of "home movie" about Alessandrini and his affinity toward Monteverdi. Several other forthcoming editions are promised too!
The La Venexiana set is high on my list as well; I've only heard their live, concert recording (I'm hopeful that a Gesualdo box will be released at some stage) .
Ensemble Elyma also has some fantastic Monteverdi recordings. I like all that I have heard from that group.
I guess this is the place to follow up on this:
[asin]B005BX3KAI[/asin]
Quote from: king ubu on May 11, 2015, 11:43:32 PM
Did you ever bother to determine what Corboz added and where it's been taken from? Seems the entire "Selva" publication can be squeezed onto three pretty full discs (Garrido uses four).
Quote from: Harry's on May 12, 2015, 12:21:01 AM
Yes, or rather I knew, when I researched into it many many years ago, but I lost all this info, so I will get into this again, unless an other member will come forward with the necessary info.
Would be greatly appreciated, Harry! Or anyone else, if anyone can jump in!
Bump... Since the Garrido set doesn't have libretti, I had to search for them online.. courtesy of Boston Early Music Festival:
Ulisse (https://www.wgbh.org/UserFiles/File/BEMF_Ulisse_Program.pdf)
Poppea (https://www.wgbh.org/UserFiles/File/BEMF_Poppea_Program.pdf)
Orfeo (https://www.wgbh.org/UserFiles/File/BEMF_Orfeo_Program.pdf)
The complete madrigals from La Venexiana has become available at a reasonable price (MDT, for example). Does anyone have any thoughts on this ensemble? I only have them in Book III and find them enjoyable. Is there any ensemble that is a top recommendation in all nine Books or is it a matter of choosing a particular ensemble for a specific Book?
I don't have a complete set and La Venexiana seems a reasonable option.
I like Alessandrini.
Quote from: Biffo on May 06, 2018, 07:42:32 AM
The complete madrigals from La Venexiana has become available at a reasonable price (MDT, for example). Does anyone have any thoughts on this ensemble? I only have them in Book III and find them enjoyable. Is there any ensemble that is a top recommendation in all nine Books or is it a matter of choosing a particular ensemble for a specific Book?
I don't have a complete set and La Venexiana seems a reasonable option.
Concerto Italiano (dir. Alessandrini) is as fine as Venexiana, based on the books I've heard from them, but a lot harder to collect for sure. If you enjoy Venexiana's Book III, you should like the rest of their integral just as much.
Quote from: North Star on May 06, 2018, 09:15:11 AM
Concerto Italiano (dir. Alessandrini) is as fine as Venexiana, based on the books I've heard from them, but a lot harder to collect for sure. If you enjoy Venexiana's Book III, you should like the rest of their integral just as much.
I have Concerto Italiano in Book V and find that enjoyable as well. For me CV are marginally preferable to Venexiana but that is only a slight preference. I also have Book VIII from Concerto Vocale/Jacobs.
I think I will buy the Venexiana complete set; I can always add any alternative versions of individual books if they come to my attention and I like them.
I listened to some madrigals from Bk 4 by Alessandrini and by Venexiana - my feeling is that Venexiana are more dramatic/operatic.
Quote from: Mandryka on May 07, 2018, 03:28:58 AM
I listened to some madrigals from Bk 4 by Alessandrini and by Venexiana - my feeling is that Venexiana are more dramatic/operatic.
That is something I will bear in mind when I get the complete edition. It may be that their different strengths will be apparent over the whole set. I was comparing Book III (Ven.) with Book V (CV) and came to the opposite conclusion - I thought that Venexiana were possibly concentrating a little too much on beauty of sound rather than drama but that might be inherent in the Book III madigals. In any case, both sound fine ensembles.
I just ordered the recent compilation/repackaging of the Monteverdi recordings performed by Ensemble Elyma and Gabriel Garrido.
For some reason Garrido's recordings have eluded me in the past so I'm very much look forward to exploring these performances. The individual releases seem hard to come by and/or are quite expensive at this point in time. I noted that many members spoke highly of Garrido's Monteverdi previously in the thread. :) This thread (seemingly) had a Monteverdi listening frenzy back in 2013! It would be fun to rekindle the Monteverdian fire?
(https://images-na.ssl-images-amazon.com/images/I/91JvaZyMwVL._SL1420_.jpg)(https://images-na.ssl-images-amazon.com/images/I/81EwBsMJbxL._SL1417_.jpg)
L'Orfeo
https://www.youtube.com/v/7JyDVotbAJQ
Quote from: Moonfish on May 28, 2018, 11:02:12 PM
I just ordered the recent compilation/repackaging of the Monteverdi recordings performed by Ensemble Elyma and Gabriel Garrido.
For some reason Garrido's recordings have eluded me in the past so I'm very much look forward to exploring these performances. The individual releases seem hard to come by and/or are quite expensive at this point in time. I noted that many members spoke highly of Garrido's Monteverdi previously in the thread. :) This thread (seemingly) had a Monteverdi listening frenzy back in 2013! It would be fun to rekindle the Monteverdian fire?
(https://images-na.ssl-images-amazon.com/images/I/91JvaZyMwVL._SL1420_.jpg)(https://images-na.ssl-images-amazon.com/images/I/81EwBsMJbxL._SL1417_.jpg)
L'Orfeo
I also bought the Garrido set after it showed up in this forum. So far I have only listened to the Vespers; enjoyable but not a top choice. For various reasons I haven't made any progress with the rest of the set though I have Orfeo lined up for listening soon.
It is annoying, though typical these days, that the set has no texts. For me it is not a problem with the Vespers, Orfeo or Poppea but a nuisance for Ulisse and the madrigals. The selection of madrigals is from a number of composers not as well-known as Monteverdi and I will probably have some difficulty finding texts and translations for the lesser known works.
https://www.youtube.com/v/7JyDVotbAJQ
Anyone heard this performance yet? I'm a huge fan of Dunedin/Butt's version of Bach's B-minor Mass and am very interested in this one. There is already such a great showing of Vespers on record so this would have to offer something quite new sounding to peak my interest, but if it's anything similar to their B-Minor Mass performance then I'm all in.
(https://images-na.ssl-images-amazon.com/images/I/81PECNmVpxL._SL1200_.jpg)
Adding my two cents re Madrigals Book 8. I first got the Alessandrini on Naive some time ago, but found it difficult to listen to.
Today I heard for the first time the La Venexiana version – and I found it revelatory!!
I did a bit of A-B comparative listening (just before dropping the Alessandrini in the metaphorical trash can). I found La Venexiana to sound more natural and even warm, while the Alessandrini seemed a bit stiff and artificial. Maybe fine for some, but not for me – I like my madrigals to sound as natural as possible.
By the way, I also very much appreciated the instrumental accompaniment in Book 8. As far as I know, earlier books tend to have little (5-7?) or none (1-4?). I must say I prefer vocal music with instrumental accompaniment.
Anyway, count me enthusiastically in the La Venexiana camp!! And a big fan of Book 8!!
Caveat: my opinions are hardly authoritative, and my preferences are still very much in flux, since I am only just beginning to develop a broad familiarity with early music.
Crosspost from WAYLT and EMC Club threads
CD 2 Vespers of St Joseph
[asin]B07NB946S6[/asin]
(https://images-na.ssl-images-amazon.com/images/I/61-ZCH9Ui5L.jpg)
Live recordings from 2005. You can tell this was recorded in a church from the sound.
The Selva are, for this set, arranged in three programs: Vespers of St Gabriele, Vespers of St. Joseph, and a Missa Solemnis. To do this, five non-liturgical pieces, two hymns, and a motet were omitted, so this is not a truly complete recording. But otherwise it seems exemplary.
What are the best parts of Selva morale?
Quote from: Selig on November 11, 2021, 10:25:18 AM
What are the best parts of Selva morale?
The 8-part
Magnificat and second
Dixit, IMHO. This thread is rather quiet, isn't it?
Thanks, I'll start the exploring...
Yes, way too quiet!
What do the Monteverdians think about Jörg Halubek?
(https://lite-images-i.scdn.co/image/ab67616d0000b2733e482ade1dfeb4837ab3e901)
Quote from: Selig on November 12, 2021, 05:27:13 AM
What do the Monteverdians think about Jörg Halubek?
He was a new name to me, so I've given some excepts a spin on Spotify in glorious 128kbit sound (with a few interruptions from Billie Eilish). I think I would probably have hated the staged production, with operatic characters and whatnot, but the music ain't half bad, although it probably belongs on the "guilty pleasures" list along with JE Gardiner's San Marco recording. I find some of the instrumental improvisation a bit excessive, with a tendency to slow the pace down in a few places (the opening fanfare, for example). And the cornettists in the
Sonata sopra Sancta Maria go completely berserk - someone had spiked their Cornettos, methinks. But the Psalms are very good indeed, with splendid depth and detail to the recording (even in 128k) - almost like being in the midst of the double choirs, with every individual line clear. I've just sampled
Duo seraphim - a bit beefy for my taste, like 3 Italian football fans on the way home from the bar. But on the whole it passes my test for a good
Vespro, which is to be left feeling, as I also do after a good B minor Mass, "this is really too beautiful, it cannot possibly exist". So I really, really needed another
Vespro, thanks, Selig >:( - still, £7.99 on Qobuz is affordable, and my wife need never know...
I know Halubek mainly from the very colorful recording he made with Leila Schayegh of the violin/harpsichord sonatas BWV 1014-9, if you don't know it you should at least sample it!
There are so many classic Vespro recordings I should hear but for some reason I'm drawn to these offbeat versions instead :-\
Yesterday I found a surprisingly wonderful Pulchra es on this, sung by boys:
(https://cdns-images.dzcdn.net/images/cover/ac1fd7323ddea0e31e144f9628c1daaa/264x264.jpg)
The whole thing is all-male. Needless to say it's the least sexy version I've heard...
Vespers - TTT! - going through my Renaissance collection last few weeks and listening to this choral masterpiece today - a consideration for those looking for their first recording or as an addition - Hurwitz has a nice discussion below - one of two of his top choices - reviews also attached with a lengthy discussion on Gramophone of dozens of recordings - YES plenty available. Dave :)
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiNzk0NDI1NS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3MDc5MDg2Nzl9) (https://m.media-amazon.com/images/I/51j7O-y7EDL.jpg)
I stumbled over this in Amazon's listings. Has anyone here heard it?
(https://m.media-amazon.com/images/I/41mBXo+wfmL._UF1000,1000_QL80_FMwebp_.jpg)(https://m.media-amazon.com/images/I/518OMO4wIYL._UF1000,1000_QL80_FMwebp_.jpg)
ETA
There's also companion recordings of L'Orfeo and Il Ritorno d'Ulisse.