Monteverdi - L'Orfeo / Bostridge, Ciofi, Coote, Dessay, Gens, Prina, Sampson, Agnew, Bertin, Luperi, Maltman, Regazzo, Le Concert d'Astree, Haim

Monteverdi - L'Orfeo / Bostridge, Ciofi, Coote, Dessay, Gens, Prina, Sampson, Agnew, Bertin, Luperi, Maltman, Regazzo, Le Concert d'Astree, Haim

Monteverdi - L'Orfeo / Bostridge, Ciofi, Coote, Dessay, Gens, Prina, Sampson, Agnew, Bertin, Luperi, Maltman, Regazzo, Le Concert d'Astree, Haim
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Composer: Claudio Monteverdi
Conductor: Emmanuelle Haim
Orchestra: Le Concert d'Astree
Performer: Ian Bostridge
Performer: Patrizia Ciofi
Performer: Alice Coote
Performer: Natalie Dessay
Performer: Veronique Gens
Performer: Sonia Prina / Pascal Bertin
Performer: Carolyn Sampson / Christopher Maltman
Edition: Music CD
CD Release Date: 2004-04-06
Music Label: Virgin Classics
Soundtracks:
Music CD 1
  1. Toccata
  2. Prologue. Ritornello
  3. Prologue. Dal mio Permesso amato
  4. Prologue. Ritornello
  5. Prologue. Io la Musica son
  6. Prologue. Ritornello
  7. Prologue. Io s? cetera d'or
  8. Prologue. Ritornello
  9. Prologue. Quinci ? dirvi d'Orfeo
  10. Prologue. Ritornello
  11. Prologue. Hor mentre i canti alterno
  12. Act 1. In questo lieto e furtunato giorno
  13. Act 1. Vieni Imeneo, deh vieni
  14. Act 1. Muse honor di Parnaso
  15. Act 1. Lasciate i monti
  16. Act 1. Ma tu gentil cantor
  17. Act 1. Rosa del Ciel
  18. Act 1. Io non dir? qual sia
  19. Act 1. Lasciate i monti
  20. Act 1. Vieni Imeneo, deh vieni
  21. Act 1. Ma s'il nostro gioir dal Ciel deriva
  22. Act 1. Alcun non sia che disperato in preda
  23. Act 1. Che poiche nembo rio gravido il seno
  24. Act 1. E dopo l'aspro gel del verno ignudo
  25. Act 1. Ecco Orfeo cui pur dianzi
  26. Act 2. Sinfonia / Ecco pur ch'? voi ritorno
  27. Act 2. Ritornello / Mira ch'? se n'alletta
  28. Act 2. Ritornello / In questo prato adorno
  29. Act 2. Ritornello / Qui le Napee vezzose
  30. Act 2. Ritornello / Vi ricorda ? bosch' ombrosi
  31. Act 2. Mira, deh mira Orfeo
  32. Act 2. In un fiorito prato
  33. Act 2. Tu se' morta mia vita
  34. Act 2. Ahi caso acerbo
  35. Act 2. Ma io ch'in questa lingua
  36. Act 2. Sinfonia / Chi ne consola ahi lassi?
  37. Act 2. Ritornello
Music CD 2
  1. Act 3. Sinfonia
  2. Act 3. Scorto da te mio Nume
  3. Act 3. Ecco l'atra palude
  4. Act 3. O tu ch'innanzi mort' ? queste rive
  5. Act 3. Sinfonia
  6. Act 3. Possente Spirto e formidabil Nume
  7. Act 3. Ritornello
  8. Act 3. Non vivo io n?, che poi di vita ? priva
  9. Act 3. Ritornello
  10. Act 3. A lei volt' h? il camin per l'a?r cieco
  11. Act 3. Ritornello
  12. Act 3. Sol tu nobile Deo puoi darmi aita
  13. Act 3. Ben mi lusinga alquanto
  14. Act 3. Ahi sventurato amante
  15. Act 3. Sinfonia
  16. Act 3. Ei dorme, e la mia cetra
  17. Act 3. Sinfonia ? 7 / Nulla impresa per huom si tenta in vano / Sinfonia ? 7
  18. Act 4. Signor quell'infelice
  19. Act 4. Benche severo e immutabil fato
  20. Act 4. O de gli habitator de l'ombre eterne
  21. Act 4. Tue soavi parole
  22. Act 4. Pietade oggi et Amore
  23. Act 4. Qual honor di te fia degno
  24. Act 4. Ma mentre io canto (ohime)
  25. Act 4. O dolcissimi lumi io pur vi veggio
  26. Act 4. Ahi vista troppo dolce e troppo amara
  27. Act 4. Dove te'n vai mia vita?
  28. Act 4. Sinfonia ? 7 / ? la virtute un raggio / Sinfonia ? 7
  29. Act 5. Ritornello
  30. Act 5. Ma tu anima mia se mai ritorna
  31. Act 5. Tu bella fusti e saggia
  32. Act 5. Hor l'altre Donne son superbe e perfide
  33. Act 5. Sinfonia
  34. Act 5. Perch'a lo sdegno e al dolor impreda
  35. Act 5. Padre cortese, al maggior uopo arrivi
  36. Act 5. Troppo troppo gioisti
  37. Act 5. Si non vedr? pi? mai
  38. Act 5. Saliam cantand' al Cielo
  39. Act 5. Moresca

Music reviews of Monteverdi - L'Orfeo / Bostridge, Ciofi, Coote, Dessay, Gens, Prina, Sampson, Agnew, Bertin, Luperi, Maltman, Regazzo, Le Concert d'Astree, Haim

Music Review: Everyone But Me....
Rating: 3 Stars

.... seems to like this performance, and all for exactly the reasons that i don't like it. One reviewer praises the orchestra for being loud and rambunctious. Exactly! Another praises it essentially for being more dramatic. Exactly! though the word is spelled "melodramatic'.

To my ears, this production has the quality of a "Back to the Future" parody, as if suddenly a number of very fine singers - Ciofi, Dessay, Prina, all favorites of mine - were transported back to the 1950s and asked to sing in the "can bellow" style of the era, with shrieking and wobbling and scooping regarded as art. Likewise, the crew in the orchestra pit were given the assignment of sounding as much like the Boston Pops as possible, a feat made easier by the fact that the cornetto was still regarded as unplayable in 1950. Oh well... one person's lush orchestral timbre is another person's murky excess.

Claudio Monteverdi was a composer of infinite variety. He could write the most joyful and celebratory music of his era - in the Vespers of 1610, for instance, and in the Selva Morale e Spirituale - but he could also write refined tragedy without slipping into bathos. L'Orfeo is a work of exquisite sadness, of refined despair. This interpretation by Emmanuelle Haim gets the affect all wrong.

The interpretation of L'Orfeo that wins my single vote of acclaim is the DVD by Tragicomedia and Cocerto Palatino, conducted by Stephen Stubbs, stage director Pierre Audi.

Description of Monteverdi - L'Orfeo / Bostridge, Ciofi, Coote, Dessay, Gens, Prina, Sampson, Agnew, Bertin, Luperi, Maltman, Regazzo, Le Concert d'Astree, Haim

It seems natural that of all mythological heroes, Orpheus, a singer endowed with matchless musical gifts, should appeal to so many opera composers. L'Orfeo, which premiered at the Court of Mantua in 1607, was Monteverdi's first opera. This fairly new genre sought to combine performing practices of Greek and Roman antiquity with music capable of arousing and expressing emotions through a dramatic text. Alessandro Striggio's libretto gives the story an unusual perspective: it focuses on the power of music, but also on the need for self-discipline. Orpheus, having conquered the forces of death and Hades, is undone by his inability to accept the transience of mortal joy and to control his own impulses. Thus, the opera ends differently from the myth, as well as from the more famous opera by Gluck: Apollo, Orpheus' father, appears and offers him eternal bliss in Heaven. The music is enchantingly beautiful. The vocal lines are cast in the rhetorical "speech-song" used at the time, which carries the dramatic action and expresses the emotions of the characters; however, there is much elaborate coloratura and ornamentation at crucial moments. Instrumental "ritornellos" alternate with the vocal sections in infinitely varied, imaginative combinations, and the wonderfully rich-sounding chorus, impersonating shepherds, friends and furies, adds commentary in chorale-like or contrapuntal settings. The performance is superb. In the prominent part of Orpheus, Ian Bostridge is riveting, changing and coloring his voice to express joy, hope, pleading, passion, anguish, despair; even the intricate coloratura passages add to the emotional impact. Also outstanding are Natalie Dessay, Alice Coote, Mario Luperi and Christopher Maltman. The orchestra is a crucial element, supporting the singers, sometimes with answering and echoing solo lines, setting mood and atmosphere in the instrumental sections; the brass choir passages---solemn, somber, gloriously triumphant---are especially striking. Interestingly, though the strings play without vibrato, the singers mostly use full, vibrant voice. --Edith Eisler

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