Monteverdi - Il ritorno d'Ulisse in patria / Concerto Vocale, Jacobs
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Composer: Claudio MonteverdiConductor: Rene Jacobs
Orchestra: Concerto Vocale
Performer: Bernarda Fink
Performer: Christophe Pregardien
Performer: Christina Hogman
Performer: Lorraine Hunt Lieberson
Performer: Dominique Visse
Performer: Mark Tucker
Performer: David Thomas
Edition: Music CD
Format: Import
CD Release Date: 1993-11-05
Music Label: Harmonia Mundi (France)
Soundtracks:
Music CD 1
- Sinf - Con Vocale/Rene Jacobs
- Prologo - Dominique Visse/Michael Schopper/Lorraine Hunt/Martina Bovet
- Atto Primo, Scena I: 'Di Misera Regina' - Bernarda Fink/Jocelyne Taillon
- Atto Primo, Scena II: 'Duri E Penosi' - Faridah Subrata/Jorg Durmuller
- Atto Primo, Scena III: 'Fermino I Sibili' - Christina Hogman/Martina Bovet/Elisabeth Scholl
- Atto Primo, Scena IV/V - Michael Schopper/Olivier Lallouette
- Atto Primo, Scena VI: 'In Questo Basso Mondo' - Chor Of Phaeacians/Michael Schopper
- Atto Primo, Scena VII: 'Dormo Ancora O Son Desto?' - Christoph Pregardien
- Atto Primo, Scena VIII: 'Cara E Lieta Gioventu'/Scena IX - Lorraine Hunt/Christoph Pregardien/Francesca Congiu
- Atto Secondo, Scena I: 'Donate Un Giorno' - Faridah Subrata/Bernarda Fink
- Atto Secondo, Scena II: 'Oh, Come Mal Si Salva' - Martyn Hill
- Atto Secondo, Scena III: 'Pastor D'armenti Puo' - Martyn Hill
- Atto Secondo, Scena IV: 'Ulisse Generoso' - Martyn Hill/Christoph Pregardien
- Atto Secondo, Scena V: 'Lieto, Lieto Cammino'/VI - Christina Hogman/Lorraine Hunt/Martyn Hill/Christoph Pregardien
- Atto Secondo, Scena VI: 'Vanne Pur Tu Veloce'/Scena VII - Christina Hogman/Christoph Pregardien
- Atto Terzo, Scena I: 'Eurimaco, La Donna Insomna'/Scena II - Faridah Subrata/Jorg Durmuller/David Thomas/Mark Tucker/Dominique Visse/Bernarda Fink
- Atto Terzo, Scena II: 'Sono L'altre Regine' - David Thomas
- Atto Terzo, Scena III: 'Dame In Amor' (Ballo)/Scena IV - Dominique Visse/Mark Tucker/David Thomas/Martyn Hill/Bernarda Fink
- Atto Terzo, Scena V: 'Compagni, Udiste' - Mark Tucker/Dominique Visse/Jorg Durmuller/David Thomas
- Atto Terzo, Scena VI: 'Perir Non Puo'/Scena VII - Christoph Pregardien/Lorraine Hunt/Martyn Hill
- Atto Quatro, Scena I: 'Del Mio Lungo' - Christina Hogman/Bernarda Fink
- Atto Quatro, Scena II: 'Sempre, Villano'/Scena III - Martyn Hill/Guy De Mey/Christoph Pregardien/Bernarda Fink/David Thomas/Dominique Visse...
- Atto Quatro, Scena III: 'Generosa Regina' - Dominique Visse
- Atto Quatro, Scena III: 'Ecco L'arco D'Ulisse' - Bernarda Fink
- Atto Quatro, Scena III: 'Son Vani, Oscuri Pregi' - Bernarda Fink
- Atto Quinto, Scena I: 'Oh Dolor, Oh Martir Che L'alma Attrista' - Guy De Mey
- Atto Quinto, Scena III: 'E Quai Nuovi Rumori'/Scena IV/Scena V - Con Vocale/Rene Jacobs/Bernarda Fink/Faridah Subrata/Martyn Hill/Christina Hogman
- Atto Quinto, Scena VI: 'Fiamma E L'ira' - Lorraine Hunt/Claron McFadden
- Atto Quinto, Scena VII: 'Gran Giove' - Olivier Lallouette/Michael Schopper/Lorraine Hunt/Celesital Chor/Chor Of Tritons/Claron McFadden
- Atto Quinto, Scena VIII: 'Ericlea, Che Vuoi Far?' - Jocelyne Taillon
- Atto Quinto, Scena IX: 'Ogni Vostra Ragion'/Scena X - Christina Hogman/Martyn Hill/Jocelyne Taillon/Bernarda Fink/Christoph Pregardien
- Atto Quinto, Scena X: 'Illustratevi, O Cieli' - Bernarda Fink
Description of Monteverdi - Il ritorno d'Ulisse in patria / Concerto Vocale, Jacobs
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.Monteverdi's late operas The Return of Ulysses and The Coronation of Poppea are surprisingly unlike the more familiar L'Orfeo. The last, written for the Mantuan court, is really more lavish pageant (with appropriately lavish orchestra) than serious drama; Ulysses and Poppea, written for commercial Venetian opera houses, have librettos of real literary and dramatic merit--and (according to surviving manuscripts) no instruments other than basso continuo. (The typical Venetian "pit orchestra" of the 1640s had only bass viol and a few harpsichords and lutes, with perhaps two violins playing semi-improvised parts.) Most modern conductors reviving Ulysses and Poppea have felt the need to add instrumental parts--to make the operas, in effect, more like L'Orfeo. René Jacobs is no exception: not only has he imported instrumental interludes from other Monteverdi works, he has composed extensive parts for cornetts, violins, and recorders to accompany the singers and assigned one tenor role (Telemachus) to a soprano. Jacobs's booklet notes are admirably frank about his having done all this basically because he likes it that way. This sort of thing would not be tolerated with, say, Otello or Parsifal, but never mind--the results may not be pure(-ist) Monteverdi, but they're effective, even exciting, on their own terms. In the title role, tenor Christoph Prégardien is believably heroic, yet totally comfortable with Monteverdian style; his Penelope, contralto Bernarda Fink, has (as do several other members of the cast) a legato vocal technique and a vibrato that would sound more at home in Mozart--yet she never overwhelms the music and acts her part with real commitment. Other standouts in the cast include Guy de Mey as the gluttonous Irus and, as the goddess Minerva, "La Divina" Lorraine Hunt. This recording grew directly out of a staged production--and it shows: whatever its conceptual flaws, this is the most dramatically compelling recording of a Monteverdi opera I've ever encountered. --Matthew Westphal
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