The graphic realism and dramatic subtlety of both these expanded madrigals are given the most incandescent and powerful readings imaginable here. Concerto Italiano have won many plaudits for their delectable linguistic colouring of the earlier Mantuan madrigal books. Combattimento, this sui generis dramatic masterpiece from 1624, demonstrates Alessandrini’s impeccable instincts for theatrical timing and the stile concitato, or agitated style, where extrovert representation of two fighting crusaders has the listener enraptured, not only by the celebrated violence of the figuration, but the poignant foreboding of the Christian knight’s discovery that the Saracen warrior whom he has killed is the maiden he loves, in disguise. Stylistically provocative, it is the evocative restraint of Concerto Italiano’s expressive world which shuns the self-conscious over-enactment that temporarily stalls even the most established readings. That said, the pace is hot throughout with words spat out by the Testo, or narrator, Roberto Abbondanza. His tenor is dark and often a touch hard-grained but he is remarkable in his dynamic range, contemplative dolour and grounded physicality. He is surrounded by a deeply affecting string commentary of well-judged vibrating strings, bright fifths and rhythmic vitality.
There are two other notable recordings of this great scena, from Philip Pickett and from Tragicomedia under lutenist Stephen Stubbs (Teldec, 10/93 – nla). The former boasts John Mark Ainsley, who certainly rivals Abbondanza for dramatic flair, whilst Douglas Nasrawi puts his heart on his sleeve, if only to balance the intensity of the fine continuo battery of Tragicomedia, but there is too much town-crier declamation. The pathos and purity of sentiment of the new version have no rival, however, and the post-baptism, reconciliation scene at the end is given an ethereal fragility by Clorinda, the beguiling Elisa Franzetti. The other work here, Il ballo delle ingrate, was written in 1608 for Monteverdi’s patron Duke but the composer revised the original commission and published it as part of the Madrigali guerrieri e amorosi 30 years later. Again, the characterization is penetrating, the recitative style unforced and the string players revel, sometimes a touch scrappily, in the potent undercurrents of women’s fate should they resist love. An irresistible release, though.'