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Clorinda e Tancredi: Love Scenes by Claudio Monteverdi | Glossa GCD923512

Clorinda e Tancredi: Love Scenes by Claudio Monteverdi

£14.51

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Label: Glossa

Cat No: GCD923512

Barcode: 8424562235120

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 15th December 2017

Contents

Artists

Francesca Lombardi Mazzulli (soprano)
Luca Dordolo (tenor)
Riccardo Pisani (tenor)
Davide Benetti (bass)
Cantar Lontano

Conductor

Marco Mencoboni

Works

Monteverdi, Claudio

Et e pur dunque vero
Il combattimento di Tancredi e Clorinda, SV153
Madrigals, Book 7: SV117-145
» Lettera amorosa, SV141
Madrigals, Book 8: SV146-167 'Madrigals of Love and War'
» Lamento della ninfa, SV163
Madrigals, Book 9: SV 168-178
» Bel Pastor, SV168
Scherzi musicali
» Eri gia tutta mia
» Maledetto sia l'aspetto
» Si dolce e il tormento
Voglio di vita uscir

Sances, Giovanni Felice

Usurpator tiranno

Artists

Francesca Lombardi Mazzulli (soprano)
Luca Dordolo (tenor)
Riccardo Pisani (tenor)
Davide Benetti (bass)
Cantar Lontano

Conductor

Marco Mencoboni

About

In Clorinda e Tancredi, a programme built around the vocal talents of soprano Francesca Lombardi Mazzulli and tenor Luca Dordolo, Marco Mencoboni and Cantar Lontano provide a powerful display of how, in his later secular works, Claudio Monteverdi made the music serve the word at its most intense. A sequence of madrigals – in the broadest sense of the definition of the form – is spearheaded by a dramatic interpretation of the Combattimento di Tancredi e Clorinda (with Luca Dordolo as Testo).

Francesca Lombardi Mazzulli – who also appeared on Glossa’s recent Alcina of Francesca Caccini and Silla of Handel – takes centre stage for an impassioned rendition of the Lamento della ninfa, an ostinato-driven work nicely counterbalanced on this recording by a bonus track of Giovanni Felice Sances’s mesmerizing Usurpator tiranno. Two of the other pieces chosen to represent the Baroque musical “shock of the new” for this recording prepared by the Monteverdi specialist Marco Mencoboni are Ed è pur dunque vero (from the Scherzi musicali) and the Lettera amorosa (Settimo libro dei madrigali).

In his booklet essay for this new manifestation of Glossa’s abiding passion for the Seicento, Pierre Élie Mamou offers an absorbing analysis of Monteverdi’s adoption of the stile moderno, especially in terms of how it clashed with the ideals of Giovanni Maria Artusi and how it was expressed so potently in the Combattimento.

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