Francesco Cavalli (1602-1676) L'Egisto : "D'Hipparco e di Climene ospiti miei" (8) La Didone : "Acate, Ilioneo, compagni, amici... Dormi, cara Didone" (7) - "Alle ruine del mio regno adunque... Tremulo spirito" (5, 1)
Claudio Monteverdi (1567-1643) Madrigali guerrieri, et amorosi : Lamento della ninfa (2, 9, 7) L'Arianna : Lamento d'Arianna (8) L'incoronazione di Poppea : "Addio Roma" (4) L'Orfeo : "Tu se' morta mia vita" (8)
Barbara Strozzi (1619-1677) Cantate, ariette e duetti, op. 2 : L'Eraclito amoroso (6)
Stefano Landi (1587-1639) Arie : Superbe colli, e voi, sacre ruine (11)
Giacomo Carissimi (1605-1674) Lamento di Maria Stuarda (1)
Antonio Cesti (1623-1669) L'Argia : "Dure noie, che rendete" (10)
Результат можно послушать в 2010-09-19-18610
Отзыв критика ниже.
In the opening, a soliloquy from Cavalli's 1643 L'Egisto, Villazón's vibrant color, bold phrasing and wild attacks sound ludicrously overdone, while the pounding and slashing continuo playing can only be taken as some sort of inside joke. Dessay fares no better with Monteverdi's "Lamento della ninfa," where she exhibits little understanding of the subtle rhythms or the play of dissonance and resolution so crucial to this style. Happily, includes some top-notch singing, especially from the superb contralto Marie-Nicole Lemieux, who limns a devastating and emotional account of Hecuba's lament from Cavalli's 1641 opera La Didone. A chromatic descending bass line drives the music, as each verse of this extraordinary poem becomes more insistent and maddening. Lemieux's voice is gorgeous to begin with, and she invests every word and phrase with dramatic conviction and compelling theatricality. The listener can almost see the wasted city of Troy haunting Hecuba's thoughts as she vows to perish with her daughter Cassandra. Another singer who can command earlier musical styles without compromising vocal technique is Joyce DiDonato, who gives a deeply felt and exquisitely paced account of the Empress Octavia's farewell to Rome from Monteverdi's L'Incoronazione di Poppea. DiDonato understands this declamatory style and digs fearlessly into the text to find a dazzling array of vocal colors and phrasing, from hesitant sobs to harsh, biting attacks. The elegant countertenor Philippe Jaroussky brings to life Barbara Strozzi's theatrical cantata "L'Eraclito amoroso," while Topi Lehtipuu reveals an attractive dark tenor voice and wide range in Aeneas's farewell soliloquy from Cavalli's La Didone. Bass-baritone Christopher Purves sings Stefano Landi's "Superbe colli" with fine style and supple coloratura.
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