Archive for the ‘ Claudio Monteverdi (1567 – 1643) ’ Category

100 Best Romantic Classics (6 CDs)


Year: 2008

Label: EMI

Performers: Various Artists

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(Repost) Claudio Monteverdi – The Madrigals, Books 3, 4, 7, 8 & 9 (8 CDs)


Performers: John Alldis Choir, ECO, conductor –  Raymond Leppard

Label: Philips

Year: 1998

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(Repost) Claudio Monteverdi – L’Orfeo (2CDs)


Fabian Schofrin,
Maria Cristina Kiehr,
Furio Zanasi,
Gerd Turk,
Victor Torres,
Maurizio Rossano,
Antonio Abete,
Gloria Banditelli,
Adriana Fernandez,
Roberta Invernizzi
Coro Antoni Il Verso
Ensemble Elyma
Gabriel Garrido

This is a great set. The main competition to this production comes from Gardiner, with Anthony Rolfe Johnson as Orfeo. His is a superbly attractive voice, and he remains the best Orfeo I’ve heard. But Victor Torres is excellent too and his performance is very distinctive and rich in character. What’s more, he is better recorded, as is the whole of Garrido’s interpretation. Throughout, the sound is more detailed, fuller and atmospheric than Gardiner’s thinner Archiv recording.
But back to the performers. Despite having a slim (though valuable) advantage with his Orfeo, Gardiner’s vocalists come second in almost every department. Kiehr outshines Lynne Dawson, Banditelli leaves Von Otter trailing, Zanasi sees off Willard White and Fernandez edges Baird. And yet, Gardiner’s cast is very good indeed, which shows just how superbly Garrido’s team performs here. Both sets boast very fine choruses.
I also prefer the instrumental work of Garrido’s musicians. There is a truly lovely plucked string presence and many details come through that are obscured in the resonant Archiv recording.
Until Monteverdi-master Alessandrini gives us a L’Orfeo (what a prospect that is!), I have no hesitation in now placing the Garrido top of the list. And I can tell you, even Alessandrini’s great team could have their work cut out to match it.”


Claudio Monteverdi – Un concert spirituel


Claudio Monteverdi (1567 – 1643)

Un concert spirituel

Label: Harmonia Mundi, HMA 1951032
Year: 2000


Concerto Vocale

Rene Jacobs – conductor

From Mantua to Venice
Two distinct styles are discernible in Monteverdi’s monumental output – he called them the prima prattica and the seconda prattica, to distinguish his works in the traditional Renaissance style from those in the ‘modern’ style, which founded the new musical aesthetic we now call the ‘Baroque’. Even in the inherently conservative domain of church music Monteverdi was a man of the avant-garde. This is amply borne out in the famous motets, duos and trios on this recording.


01. Duo seraphim a 3 voci
02. O quam pulchra es a voce sola
03. O beatae viae a 2 voci
04. Salve, o Regina a voce sola
05. Confitebor tibi, Domine a voce sola
06. Pulchra es, amica mea a 2 voci
07. Fugge, anima mea a 2 voci
08. Ego flos campi a voce sola
09. Nigra sum a voce sola
10. Laudate Dominum a voce sola
11. Jubilet a voce sola


Claudio Monteverdi – Selva morale e spirituale (2003)


Label: Harmonia Mundi, HMA 1951250
Year: 2003


Les Arts Florissants
William Christie – conductor

“These are full-blooded accounts, lively, energetic, beautifully paced, dramatic, lyrical remarkable. Essential listening.” – Gramophone
“This is gorgeous music, flawlessly served, and this disc is an important part of any serious collector’s library.” – American Record Guide


01. Gloria 12’30
02. Chi vol che m’innamori 7’47
03. O ciechi ciechi 3’47
04. Adoramus 3’34
05. Confitebor terzo alla francese 6’31
06. Confitebor tibi Domine 12’57
07. Laudate Dominum 2’43
08. E questa vita un lampo 2’32
09. Beatus vir 7’21


Claudio Monteverdi – Vespers of the Blessed Virgin


Claudio Monteverdi (1567 – 1643)

Vespers of the Blessed Virgin (2CDs)

Label: Naxos, 8.550662-63
Year: 1995


Sopranos – Kym Amps, Janet Coxwell
Altos – Angus Davidson, Frances Jellard
Tenors – Robin Doveton, Julian Podger (with John Bowen, no.7)
Basses – David van Asch, Adrian Peacock Violins, Pauline Nobes, William Thorp
Cornetts – Jeremy West, Nicholas Perry, Susan Smith
Sackbuts – Paul Nieman, Martin Pope, David Stewart
Violoncello – Jan Spencer Chitarrone, Robin Jeffry

Organ – Terence Charlston

The Scholars Baroque Ensemble

David van Asch – conductor


Disc 1
01. Domine ad adiuvandum
02. Psalm 109: Dixit Dominus
03. Concerto: Nigra sum
04. Psalm 112: Laudate pueri dominum
05. Concerto: Pulchra es
06. Psalm 121: Laetatus sum
07. Concerto: Duo seraphim
08. Psalm 126: Nisi Dominus
09. Concerto: Audi coelum
10. Psalm 147: Lauda Ierusalem

Disc 2
01. Sonata: Sancta Maria ora pro nobis
02. Hymn: Ave maris stella
03. Magnificat: Magnificat
04. Magnificat: Et exultavit
05. Magnificat: Quia respexit
06. Magnificat: Quia fecit mihi magna
07. Magnificat: Et misericordia
08. Magnificat: Fecit potentiam
09. Magnificat: Deposuit potentes de sede
10. Magnificat: Esurientes implevit bonis
11. Magnificat: Suscepit Israel
12. Magnificat: Sicut locutus est
13. Magnificat: Gloria Patri
14. Magnificat: Sicut erat in principio

[b]The lack of precise information about Monteverdi’s original intentions when writing his Vespers of 1610 makes it impossible to claim true “authenticity” when preparing performances of this marvellous work. First, like other composers until late in the seventeenth century, Monteverdi did not specify instrumentation of his works in any great detail (in only two parts of the Vespers does he give precise indications as to instrumental scoring). Secondly, it is not absolutely clear what instruments Monteverdi had at his disposal and which could or could not have been used in church. It is not even absolutely clear that Monteverdi wrote the Vespers exclusively for use in a religious service or, indeed, if they were written to be performed as a whole. Additionally, musicologists are not in agreement as to the correct pitch used for different parts of the work.
The Scholars Baroque Ensemble, using a score prepared for them by Clifford Bartlett, has opted to perform the work with one singer and one player to a part with a continuo section consisting of violoncello, chitarrone and organ. No sixteen foot instrument is used. Antiphons, suitable only for church services at specific times of the church year, have not been added and the final Magnificat has been maintained at the higher pitch to give a more dramatic ending to the whole work.


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