Monteverdi Complete Duets, Vol 1
View record and artist detailsRecord and Artist Details
Composer or Director: Claudio Monteverdi
Label: Veritas
Magazine Review Date: 5/1998
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: 545293-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: O viva fiamma |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Harpsichord Alan Curtis, Organ Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: S'el vostro cor, madonna (wds. Guarini) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Soave libertate (wds. Chiabrera) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Tornate, o cari baci (wds. Marini) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Vorrei baciarti, O Filli (wds. Marini) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Chiome d'oro, bel thesoro |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Io son pur vezzosetta pastorella |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Non è di gentil core (wds. degl'Atti) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Harpsichord Alan Curtis, Organ Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Non vedro mai le stelle (wds. B. Tasso) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Harpsichord Alan Curtis, Organ Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: O come sei gentile, caro augellino (wds. Guarini) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Ohimè, dovè il mio ben? (wds. B. Tasso) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Harpsichord Alan Curtis, Organ Claudio Monteverdi, Composer |
| Madrigals, Book 8 (Madrigali guerrieri et amorosi., Movement: Mentre vaga Angioletta ogn'anima (wds. Guarini) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Harpsichord Alan Curtis, Organ Claudio Monteverdi, Composer |
| Madrigals, Book 8 (Madrigali guerrieri et amorosi., Movement: O sia tranquill'il mare |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Madrigals, Book 9 (Madrigali e canzonette...libro, Movement: Bel pastor dal cui bel guardo (wds. Rinuccini) |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Organ Alan Curtis, Harpsichord Claudio Monteverdi, Composer |
| Non vedrò mai le stelle |
Claudio Monteverdi, Composer
(Il) Complesso Barocco Alan Curtis, Harpsichord Alan Curtis, Organ Claudio Monteverdi, Composer |
Author: Fabrice Fitch
It is indeed surprising (as Alan Curtis observes in the essay accompanying this disc) that no one had yet hit upon the idea of gathering all of Monteverdi’s chamber duets in a single collection. The rationale for so doing is audible throughout the recording (this is the first volume of two): Monteverdi’s essays in the genre are of a consistently high quality and include some of his most popular pieces (such as Zefiro torna, or the ravishing Chiome d’oro). Given the success of Concerto Italiano’s ongoing complete madrigal cycle on Opus 111 (7/93, 12/93, 8/95 and 5/97), one might consider this repertory sufficiently well served, but this new track in a well-ploughed furrow is clearly more than a nicely judged packaging ploy. Alessandrini’s team have not yet reached the Seventh Book, from which many of these pieces are drawn; and it will be no bad thing to have two native ensembles of such distinction offering alternative views. Obviously, the singing style has much in common with Concerto Italiano’s (some singers are involved with both groups), although the approach is a touch more restrained, less dramatic. The opening track wonderfully sets the tone, and showcases another of the recording’s distinctive features, a particularly full continuo group (which I found almost too sonorous, as on the ensemble’s previous offering of Lotti madrigals, Virgin Classics, 2/98 – compare the Consort of Musicke’s much more lightly scored interpretations on Deutsche Harmonia Mundi, 11/91).
As one expects of Complesso Barocco, the standard of interpretation throughout is very high, although some of the more extended pieces seem to lose the thread of the argument, and the male soloists seem almost breathless at the tail-end of certain passaggi. Not incidentally, the recent upsurge in Italian groups has tended to put the achievements of Anthony Rooley’s musicians in the shade. That is a pity, for the Consort of Musicke more than hold their own here (as in Mentre vaga Angioletta, where Paul Elliott and Andrew King negotiate the same passaggi more successfully, and keep the argument running more smoothly to my ear; and theirChiome d’oro remains a delight). It is true that the native singers’ ease with the language is an essential asset: Bel pastor, one of the few duets for unequal voices, is particularly telling in this regard. Passion and panache, or restraint and grace: different approaches, but both possessed of that elusive quality, elegance. Moving beyond interpretation, I am thoroughly convinced by the project’s conception, which brings to the fore Monteverdi’s astonishing resourcefulness and diversity of expression: what generous, essential music this is!'
As one expects of Complesso Barocco, the standard of interpretation throughout is very high, although some of the more extended pieces seem to lose the thread of the argument, and the male soloists seem almost breathless at the tail-end of certain passaggi. Not incidentally, the recent upsurge in Italian groups has tended to put the achievements of Anthony Rooley’s musicians in the shade. That is a pity, for the Consort of Musicke more than hold their own here (as in Mentre vaga Angioletta, where Paul Elliott and Andrew King negotiate the same passaggi more successfully, and keep the argument running more smoothly to my ear; and their
Monteverdi Complete Duets, Vol 1
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