Monteverdi: Teatro d'Amore
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Performer: Nicholas AchtenComposer: Claudio Monteverdi
Conductor: Christina Pluhar
Performer: Philippe Jaroussky
Performer: L'Arpeggiata
Performer: Núria Rial
Performer: Lauren Arminshaw
Performer: Michaela Riener
Performer: Zsuzsanna Toth
Performer: Jan van Elsacker
Performer: Cyril Auvity
Edition: Music CD
Audio: English (Unknown)
Format: Enhanced
CD Release Date: 2009-02-24
Music Label: Virgin Classics
Soundtracks:
- Toccata
- Ohimè ch'io cado
- Pur ti miro
- Damigella tutta bella
- Amor (Lamento della Ninfa, Rappresentativo)
- Si dolce è'l tormento
- Sinfonie & Moresca
- Interrotte speranze
- Chiome d'oro
- Oblivion suave
- Hor ch'el ciel e la terra (Prima Parte)
- Tempro la cetra
- Ballo
- Con che soavitÃ
- Vago augelletto, che cantado vai
- Zefiro torna (Ciaccona)
Music reviews of Monteverdi: Teatro d'Amore
Music Review: Exuberant Monteverdi but with a pinch (or rather a barrel?!) of salt
Rating: 4 Stars
As anyone who has previously encountered L'Arpeggiata will already realise, two aspects define this excellent Parisian-based ensemble: firstly, a phenomenally high level of musicianship, and secondly, a penchant for programmes which are anything but middle-of-the-road (including, in previous years, collaborations with Italian folk singers, flamenco guitarists and even the renowned jazz clarinettist Gianluigi Trovesi). The present recording, a quasi Baroque 'jam session' focusing on some of Monteverdi's best-known 'hits', is no exception. The level of singing and playing is superb throughout - Nuria Rial (soprano), Philippe Jaroussky (countertenor) and Doron Sherwin (cornett) deserve particular mention for their outstanding contributions to the ensemble.
In many respects, the opulent continuo sound of L'Arpeggiata seems ideally suited to Monteverdi's music, with its marked emphasis on varying, sonorous textures: 'Con che soavità' (track 14), for example, is unique amongst the entire monodic repertoire in using three contrasting choirs of stringed instruments (rather than just one continuo part). In addition, the more 'rubato' approach of the vocal soloists in certain tracks is noteworthy: not only does this reflect the views of numerous contemporary musicians and theorists (e.g. Zaconni [1592], Caccini [1601] and Frescobaldi [1615], etc.), but, for the 'Lamento della Ninfa' (track 5), is even requested by Monteverdi himself: 'il pianto di essa [ninfa] qual va cantata a tempo del'affetto dell'animo e non a quello de la mano' (preface, 8th Book of Madrigals, 1638).
Overall, however, there can be little doubt that L'Arpeggiata's approach to this music is not for the faint hearted. Some of the liberties are glaring, such as their use of Moorish percussion and their tendency to present 'snippets' of pieces - the 'Lamento della Ninfa' (track 5) lacks its introductory and concluding sections, 'Hor che'l ciel e la terra' (track 11) lacks its 'seconda parte', and the unspecified 'instrumental' tracks (1, 7 and 13) are a random mishmash of sinfonias and dances taken from 'Orfeo' (1607, Prologue and Acts II & V) and 'Il Ballo delle Ingrate' (1608). Other aspects are perhaps less obvious but no less disturbing. Firstly, the use of cornetti in the madrigals is not very plausible, especially where Monteverdi stipulates 'con doi violini' (as is the case for tracks 11 and 15). Even allowing for the close correlation between violin and cornett at this time, there is no reason why Monteverdi's directions should not be interpreted literally here, particularly given that there are many other examples where he does actually leave the choice open to performers, writing an indication such as 'con quattro viole o Tronboni' (see below *1). Secondly, whilst the embellishments are undeniably astonishing at times (most obviously from cornettist Doron Sherwin), one is left wondering whether Monteverdi would really have approved of such extreme decoration - certainly, his contemporaries were near unanimous in their scornful dismissal of such shameless virtuosity (see below *2). Lastly, questions arise concerning some of the choice of speeds (see below *3) and, just occasionally, the pronunciation (see below *4).
I suspect that these issues will be of little concern to most: certainly, if judged on the strength of the musicianship alone, it hardly needs saying that this is an outstanding release. Ultimately, then, perhaps there is only one real question posed by this recording - namely, should we aim to present Monteverdi's music (or indeed any classical music) as it was probably originally envisaged, or should we simply make it relevant for today's audience...? Listeners must decide for themselves what the answer to such a question is (if, indeed, it can ever really be answered...!).
*1 - such an inscription is found frequently in his sacred works (particularly in his 'Selva Morale' collection of 1641).
*2 - Girolamo dalla Casa ('Il vero modo di diminuir', 1584) can be taken as representative: 'with divisions, do few things but make them good'. Similar views are found in Ercole Bottrigari ('Il Desiderio', 1594), Ludovico Viadana (preface to 'Cento concerti ecclesiastici', 1602), Marco da Gagliano (preface to 'La Dafne', 1608) and Adriano Banchieri ('Gemelli armonici', 1609 and 'Vezzo di perle musicale', 1610), etc.
*3 - the opening of 'Hor che'l ciel e la terra' (track 11) and the pavan-like 'entrata' of 'Il Ballo delle Ingrate' (track 13), for example, would surely have benefitted from a broader, much more spacious approach; additionally, some of the tempi changes between pieces (e.g. track 12) seem very extreme (aesthetically and academically).
*4 - in 'Interrotte speranze' [track 8], for example, 'trofei' should actually be 'troFEI' (rather than 'TROfei'), a slip which undermines the subtleties of the scansion by making it too regular for Italian hendecasyllabic verse.
Description of Monteverdi: Teatro d'Amore
This exciting new release is the debut Virgin Classics recording of the vocal & instrumental group L'Arpeggiata, led by harpist and lutenist extraordinaire Christina Pluhar. The group creates an intoxicating blend of early music and jazz, creating a sort of "baroque jam session" built on technical expertise, rich textural explorations, and daring improvisations.This album explores the music of Claudio Monteverdi, both instrumental pieces and arias. The vocal works feature the brilliant vocal talents of countertenor Philippe Jaroussky and soprano Núria Rial, who come together for the final duet from L'Incoronazione di Poppea -- one of the most beautiful and sensuous love scenes in all of opera.
This release is sure to please fans of early and vocal music, though the improvisatory jazz and world music influences will certainly interest fans of those genres as well. Overall, a fascinating, fresh new release from a group to watch.
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