Lamento d'Arianna

Record and Artist Details

Composer or Director: Claudio Monteverdi, Claudio Pari, Francisco Antonio Costa, Severo Bonini, Francesco Maria Rascarini, Antonio Il Verso

Label: Deutsche Harmonia Mundi

Media Format: CD or Download

Media Runtime: 108

Mastering:

ADD

Catalogue Number: CDS7 49414-2

Tracks:

Composition Artist Credit
Madrigals, Book 6 (Il sesto libro de madrigali), Movement: Lamento d'Arianna: Lasciatemi morire (wds. Rinucci Claudio Monteverdi, Composer
Anthony Rooley, Conductor
Claudio Monteverdi, Composer
Consort of Musicke
Emma Kirkby, Soprano
(L')Arianna Claudio Monteverdi, Composer
Claudio Monteverdi, Composer
Selva morale e spirituale, Movement: Iam moriar, 'Pianto della Madonna sopra Lamento d'1v) Claudio Monteverdi, Composer
Anthony Rooley, Conductor
Claudio Monteverdi, Composer
Consort of Musicke
Emma Kirkby, Soprano
Lamento d'Arianna in stile recitativo Severo Bonini, Composer
Anthony Rooley, Conductor
Consort of Musicke
Severo Bonini, Composer
(Il) Lamento d'Arianna Claudio Pari, Composer
Anthony Rooley, Conductor
Claudio Pari, Composer
Consort of Musicke
Pianto d'Arianna Francisco Antonio Costa, Composer
Anthony Rooley, Conductor
Consort of Musicke
Emma Kirkby, Soprano
Francisco Antonio Costa, Composer
Lasciatemi morire Antonio Il Verso, Composer
Anthony Rooley, Conductor
Antonio Il Verso, Composer
Consort of Musicke
Reciproco amore (Lasciatemi morire) Francesco Maria Rascarini, Composer
Anthony Rooley, Conductor
Consort of Musicke
Francesco Maria Rascarini, Composer
It's good to see that this thematically-linked collection of pieces, one of The Consort of Musicke's most audacious projects to date, hasn't sunk without trace but rather is given a new lease of life on CD. Revisiting the performances after a gap of some three years, I was again struck more by The Consort's impressive performances than by some of the pieces themselves. A colleague listening alongside came to the same conclusion: that if the works by Bonini, Pari, Costa and Roscarini hadn't been Laments of Arianna written in the wake of Monteverdi's path-breaking and much revered setting, would we have had the privilege of hearing them resurrected today? Strengths each of these Laments may have, but none can command the respect of the prestigious model. Bonini's monodic scena, for example, dawdles through much of its long text and never achieves half the fiery climax of Monteverdi's Lamento, in Pari's cycle of 12 five-part madrigals astonishingly tame for so late a publication date as 1619, the scope of the palette seems far too limited for the size of the chosen canvas.
Unbalanced the pieces may be, but even so it would be churlish not to reward this two-CD set with warm applause, true admirers of The Consort will surely treasure it, Bonini, Pari and all.'

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