The 1610 Vespers, composed at a pivotal moment in Claudio Monteverdi's life when he sought not only to establish his new musical language but also to obtain high-placed employment, take on new significance here. Based on a renewed philological approach and the most recent musicological research, this version recreates the Vespers in accordance with the Mantuan customs of the time, featuring an order of service and plainchant drawn from local sources. Recorded in the Palatine Basilica of Santa Barbara in Mantua and using only the instruments mentioned in the score, this interpretation favours a chamber aesthetic, as suggested by Monteverdi's remark ad Sacella sive Principum Cubicula accomodata-a work conceived for chapels and the princes' chambers-and reveals the Vespers in their original intimacy, far removed from monumental display. Now restored to it's architectural, spiritual, and sonic setting, the work displays a unique emotional power: the proximity of the voices and instruments establishes an almost intimate connection with the listener.
Monteverdi's 1610 Vespers is the landmark work of early Baroque music. It sits at the crossroads of Renaissance polyphony and the new dramatic style heard in his first opera, L'Orfeo. 'The Vespers' redefined what sacred music could sound like - emotionally immediate, virtuosic, both looking back to the past and driving forward into the future. Monteverdi specialists I Fagiolini and Robert Hollingworth have waited until their 40th birthday to record the 1610 collection. This is a lifetime's work with every nuance of drama and colour brought out in their one-to-a-part performance.
Live recording of a concert from St. Georgen am Längsee Abbey in Carinthia on June 28, 2003: La Festa presents virtuoso Italian Baroque music with works by Monteverdi and Caccini, combined with traditional tarantellas. Passionate and extraordinarily lively, the Accordone ensemble, led by singer Marco Beasley and harpsichordist Guido Morini, conjures up the spirit of a 17th-century festival. A rousing recording full of improvisational flashes of genius!
Capella de la Torre, one of Europe's most renowned early music ensembles, is starting a new chapter: future projects will be released on the Prospero Classical label. This exciting collaboration kicks off with the anniversary album 20 Years of Capella de la Torre, which will be released in the form of a high-quality digipack. With this recording, the ensemble celebrates two decades of intensive artistic work, numerous award-winning projects, and tireless curiosity about the sound worlds of the Renaissance and early Baroque, licensed by Sony Classical.
In Monteverdi's Lament, the Erik Westberg Vocal Ensemble presents two contemporary works that reimagine poetry and music connected to the legacy of Claudio Monteverdi. Drawing on 17th-century sources, these compositions set historical and contemporary choir music in dialogue with interactive technologies and the hyperorgan-an instrument enhanced with digital control functions that allow performance beyond the traditional keyboard. The result is an exploration of the creative tension between past and present, echoing the spirit of innovation that shaped Monteverdi's music in the early 1600s. Carl Unander-Scharin's Lamento è più takes inspiration from Ottavio Rinuccini's libretto for the lost opera Arianna, originally set by Monteverdi in 1607. Created in collaboration with choreographer Åsa Unander-Scharin, this 2023 work expands the expressive potential of the 17th-century text through a dynamic interplay of choreography, choir, and hyperorgan.
Ménestrel-the Canadian early music ensemble of soprano-violinist Janelle Lucyk and tenor-lutenist Kerry Bursey-mix ancient repertoire with Canadian oral folk traditions. In an age defined by acceleration and artifice, their debut album, Ménestrel, reaches backward, not to escape the modern world, but to examine it's emotional roots. They gather songs drawn from several centuries and traditions, from the luminous melancholy of John Dowland to the ardent intimacy of Barbara Strozzi, from the refined contours of French Renaissance chanson to the rugged sincerity of Celtic and English folk ballads. The name ménestrel refers to the medieval minstrel, a musician who moved between written and oral traditions and carried songs across regions and generations. Janelle and Kerry draw on that lineage as they bring early music and folk repertoire into close conversation. Their approach highlights the continuity between these traditions, focusing on clarity, text, and the shared expressiveness that links courtly song with vernacular melody. Formed in 2019, Ménestrel bridges historical performance and Canadian oral folk traditions, and the ensemble has given performances and collaborated with singers and choirs in all of Canada's 13 provinces and territories. Janelle Lucyk is a singer and producer among an emerging generation of Canadian artists specializing in early music and historically informed performance, taking ideas from conception to the stage. Kerry Bursey is a tenor and plucked string instrumentalist whose voice is appreciated for it's luminous quality, and as a sought-after lutenist, he is also invested in the rare practice of self-accompaniment in early and folk music of northwestern traditions. Their concerts aim to demystify early music, juxtaposing it next to folk songs, which are songs of the people.
RossoPorpora made it's Arcana debut with an album dedicated to Luca Marenzio, which received widespread critical acclaim, including the German Record Critics' Award, Classic Voice's Disc of the Month, a Diapason rating of 5, and five-star reviews from Musica and Amadeus. It was described as "magnificent" by Early Music Review and hailed as "a desert island disc" by Forum Opera. Now, with it's second album, the ensemble turns to one of the cornerstones of 17th-century music: Claudio Monteverdi's Sixth Book of Madrigals. In a deeply immersive exploration of the composer's inner world during his final years in Mantua, RossoPorpora delivers a profoundly moving interpretation of the many masterpieces contained in the collection-Lamento d'Arianna, Lagrime d'Amante sul sepolcro dell'Amata, Zefiro torna, Oime 'l bel viso, Qui rise o Tirsi-which together mark one of the highest achievements in the history of the madrigal.
The oratorios of Giacomo Carissimi (1605-1674) are seminal works in the early history of a genre that combines sacred narrative, theatrical expression, and musical virtuosity to create a new, dramatic form. Of the mostly Old Testament stories to which Carissimi's oratorios refer, the vivid tale of Jonah stands out. During his divine mission at sea, the biblical hero is caught in a storm and swallowed by a whale. Carissimi shapes this material into a fast-paced plot with emotionally powerful solo recitatives, interspersed with a complex array of choral passages-including a striking double chorus depicting the storm. Who better to interpret Carissimi's expressive music than Giovanni Antonini, one of the foremost conductors on the period-instrument scene? The performance also features the historically informed performance ensemble Il Giardino Armonico, with instrumentation specially adapted to the Bavarian Radio Chorus and the unique tonal qualities of the oratorio. It's artistic director Giovanni Antonini has worked with the Bavarian Radio Chorus for many years, with critically acclaimed concerts featuring works ranging from the early Baroque period to the First Viennese School-and he also finds the perfect sound for Carissimi's music. With choral music by Claudio Monteverdi and Orlando di Lasso, this album also traces the development of dramatic vocal music in the transition from the late Renaissance motet to the more emotionally expressive interpretations of the early Baroque period. The famous Lamento d'Arianna is the only surviving piece from the lost opera Ariadne by Claudio Monteverdi (1567-1643), who reworked this lament into an equally expressive madrigal in 1610. Excerpts from the two legendary and mysterious cycles Prophetiae Sibyllarum and Lagrime di San Pietro by the Wittelsbach court composer Orlando di Lasso (1532-1594) conclude the album, allowing us to experience masterpieces of the motet style, to which the Bavarian Radio Chorus regularly devotes itself in historically informed performances. With it's powerful double-choir storm scene, the oratorio Jonah is a highlight of high Baroque choral music. Carissimi's oratorios are key milestones in the development of the genre. Featuring the renowned early music ensemble Il Giardino Armonico, led by Giovanni Antonini, with whom the BR Chorus has already performed programmes to high acclaim, this release also includes the madrigal version of the legendary Lamento d'Arianna by Claudio Monteverdi, the master of early Baroque opera. Also including excerpts from two important cycles of works by the Munich Renaissance master composer Orlando di Lasso, this dynamic live recording captures performances in Munich's Prinzregententheater.
Marc-Antoine Charpentier, with his Messe a quatre choeurs, delivers a unique work that reflects a rare encounter between French tradition and the splendor of Roman Baroque. Inspired by the grand polychoral works of Gabrieli and Benevoli whom he listened to attentively during his stay in Italy he unfolds a choral dialogue of exceptional breadth. Four vocal and instrumental ensembles face each other, respond, and intertwine in a play of echoes and timbres that transcends the liturgical space. Jean-Baptiste Nicolas brings an exalted momentum to this masterpiece of sacred music, combining stylistic precision with interpretative finesse.
Poppea, a courtesan with an insatiable thirst for power, weaves her destiny with formidable grace. Mistress of the Emperor Nero, she frees herself from all restraints, sweeping aside past loves, orchestrating the suicide of the philosopher Seneca and precipitating the fall of the Empress Octavia. Her coronation and the coveted union with Nero could be seen as nothing more than a manifesto of amorality. However, under Monteverdi's majestic inspiration and Stephane Fuget's fervent direction, this ascension is transformed into an intoxicating ode to all-powerful desire, revealing the terrifying beauty of unrestrained ambition!
This substantial set dedicated to the vocal music of Claudio Monteverdi (1567–1643) features the great cycle undertaken (to date) by Krijn Koetsveld and the singers of Le Nuove Musiche: all nine books of madrigals, the music in Monteverdi collections such as the Selva Morale e Spirituale (1641) and the posthumous Messa a quattro voci ed salmi (1650), and the individual works by Monteverdi that were compiled in the collections of others, the so-called Fragments. To this is joined the cycle of operas directed by Sergio Vartolo and sung by casts of Italian early music specialists, including the first recording of the five-act version of Il ritorno d’Ulisse in patria. These thoroughly researched, historically informed interpretations demonstrate Monteverdi’s pioneering and transformative role in the emergence and development of staged, dramatic vocal music. Also featured are the grand Vespers – sacred music in the Gregorian plainchant tradition but on an operatic scale – in a fantastic recording with fine Italian soloists and authentic period instruments including the early brass of La Pifarescha. Federico Bardazzi and Ensemble Felice make scrupulous interpretative decisions about the order of movements, interpolating the choral motets within the prescribed sequence of psalms to great effect. Finally, there are Monteverdi’s youthful three-part canzonettas, written when the composer was 17. They are rather simpler than the madrigals, both to sing and to appreciate, but their musical worth is amply demonstrated by the largely female voices of Armoniosoincanto joined by a mixed period-instrument ensemble of flutes, violas, theorbo and harpsichord. They impart just the right light-hearted mood and dramatic impact to the playful, folkloric secular strophic poetry.
Genius innovator - inspiring past and present! Claudio Monteverdi lived in Italy during a very turbulent time and was one of the great designers of the new style in music. As a young man, he learned the ancient laws of composing, especially from Marcantonio Ingegneri. Under his inspiration, he wrote his first book of madrigals. We can follow his life closely through the final 9 books of madrigals. Each book is a new moment in his development as a composer. Ultimately, he gets his dream job in Venice as maestro di cappella, but he writes operas and other musical spectacles for other courts, including Mantua, Milan, Turin, and Parma. He enjoyed the recognition that finally came for that little boy from insignificant Cremona. The book consists of 9 chapters, one per madrigal book, and has 128 pages in total. Looking from Monteverdi’s perspective, and also from the perspective of the performer, the contemporary enthusiast. Mesmerized by the beautiful courtly poetry, but also intrigued by the innovator Monteverdi, who is always looking for other ways to express emotion in music in a special way. Each chapter focuses on one characteristic madrigal. The book comes with a CD so you can listen to all the wonderful works.
Roland Wilson has a remarkable talent for handling the music of the 16th and 17th centuries. His impressive reconstruction of Heinrich Schutz's Dafne, the first German opera, remains well remembered. His current work will undoubtedly find it's place alongside it: This is how the grand Festive Mass may have sounded, with which all of Venice in 1631 celebrated the end of a plague epidemic that had claimed a third of the population. The Doge fulfilled his vow and commissioned the construction of the Santa Maria della Salute church. The Serenissima Repubblica rejoiced, and Claudio Monteverdi provided music whose splendor was hardly to be surpassed. Among other things, he used "slide trumpets", which allowed for extraordinary tones: they can be seen in old paintings and are heard - reconstructed - in this recording. This is how a republic once expressed it's gratitude.
On this 2012 recording, previously available on Decca, Robert Hollingworth leads his celebrated ensemble, I Fagiolini, on a journey unearthing incredible lost works from the late Renaissance and early Baroque, adding to their acclaimed 'Colossal Baroque' series on CORO. 1612 - the death of Giovanni Gabrieli, master of the 'Massive Baroque' and most brilliant of Venetian multi-choir composers but also the publication of Lodovico Grossi da Viadana's very modern four-choir Vespers collection. I Fagiolini's recording remains the only version of these spectacular Vespers as well as of Giovanni Gabrieli's unparalleled military-evoking Magnificat for seven choirs (meticulously researched and reconstructed by Hugh Keyte) and replete with fanfares and canon blasts.
Monteverdi: Genius innovator - inspiring past & present
Brilliant Classics
CD with Book
$35.99$47.99Save 25%Feb 28, 2025
Genius innovator - inspiring past and present! Claudio Monteverdi lived in Italy during a very turbulent time and was one of the great designers of the new style in music. As a young man he learned the ancient laws of composing, especially from Marcantonio Ingegneri. Under his inspiration he wrote his first book of madrigals. We can follow his life closely through the final 9 books of madrigals. Each book is a new moment in his development as a composer. Ultimately, he gets his dream job in Venice as maestro di cappella, but he writes operas and other musical spectacles for other courts, including Mantua, Milan, Turin and Parma. He enjoyed the recognition that finally came for that little boy from insignificant Cremona. The book consists of 9 chapters, one per madrigal book and has 128 pages in total. Looking from Monteverdi's perspective, and also from the perspective of the performer, the contemporary enthusiast. Mesmerized by the beautiful courtly poetry, but also intrigued by the innovator Monteverdi who is always looking for other ways to express emotion in music in a special way. Each chapter focuses on one characteristic madrigal. The book comes with a CD so you can listen to all the wonderful works.
Monteverdi, Strozzi, Caccini, Peri & Frescobaldi: Sweet Obl
Brilliant Classics
CD
$9.99$12.99Save 25%Feb 07, 2025
Laments of lost and betrayed love from 17th-century Italy: musical portraits to be set beside contemporary paintings by Gentilesschi in their contained power and violence. While the featured composers in this recital were born and worked in contrasting provinces of Italy, most of them shared common goals and aesthetic principles. The text came first, and the music was always servant to it. The sweet torment of a broken heart drew from them long-breathed melodies, supported by spare but painfully chromatic harmony. The melody itself was always articulated according to the shape of the text, fitting one to the other like a hand in a silk glove. Eleni Lydia Stamellou and Konstantin Shenikov have made their own selection from a rich treasury of available repertoire in this vein. The album takes it's title from the final track, 'Oblivion soave', drawn from Monteverdi's final opera, 'L'incoronazione di Poppea'. The aria exemplifies Enlightenment values of humanism which inspire self-examination as well as 'sweet oblivion'.They include perhaps the most famous lost-love song of all, at least until the age of Lieder, Caccini's 'Amarilli, mia bella', and comparably familiar masterpieces in the genre such as Monteverdi's 'Si dolce 'l tormento' and Peri's 'Tora, deh torna'. There is also space for the no less subtle art of Andrea Falconieri, as well as several songs by Barbara Strozzi, one of the most successful women composers of the time; indeed, she was the most prolific composer - of either gender - of printed secular vocal music in Venice around the middle of the 17th century. Eleni Lydia Stamellou is a Greek soprano, specialising in this Renaissance-era repertoire as well as new music and Lieder. As a member of Music Aeterna, she has sung operatic roles conducted by Teodor Currentzis including Despina (Cosi fan tutte) and Pierrot in Schoenberg's cabaret-monodrama. The lutenist Konstantin Shenikov has been a regular member of early-opera productions led in Russia by Andrew Lawrence-King. - A beautifully conceived program of Renaissance and early Baroque songs and arias, sung by Greek soprano Eleni Lydia Stamellou, accompanied on the lute by Konstantin Shenikov. - The featured composers are Monteverdi (1567-1643), Frescobaldi (1583-1643), Caccini (1551-1618), Strozzi (baptized 1619-1677), Peri (1561-1633) and Falconieri (ca. 1585-1656). The secular texts deal with Love, in both it's sublime fulfillment and it's melancholy abandonment. - Greek soprano Eleni Lydia Stamellou won Second Prize at the Ferruccio Tagliavini Competition in Austria, with Dame Joan Sutherland as the president of the jury. She subsequently attended masterclasses given by Teresa Berganza, Edda Moser and Christa Ludwig. She sang in opera productions with MusicAeterna conducted by Teodor Currentzis. Her specialization is Renaissance/Baroque and Contemporary Music. She sang in productions of Berio and Hersant.
Monteverdi: Testamento - Vespro della Madonna 1643
Château de Versailles Spectacles
CD
$26.99Nov 29, 2024
At his arrival in Venice in 1613, Monteverdi, ever the tireless worker, finally found a challenge that suited him: he would compose every day, both sacred and secular music, for the glory of God or his patrons. In the twilight of his life, he gathered his works into a corpus, intended to inspire musicians during the celebration of religious services. This recording is a musical testament to his carefully preserved life's work. Vincent Dumestre and Le Poeme Harmonique pay tribute to the brilliant composer who set the tone for all 17th-century sacred music.
DANZAS - from Taboo to Triumph: Initially frowned upon and forbidden, then socially accepted and the height of fashion. Despite being at times banned by the authorities, their popularity was not reduced. In this "crossover" project by La Ninfea, the genres and dances meet and mix. Historical dances suddenly turn into tangos, while a tango shows itself in baroque dress - a musical bridge spanning centuries and social conventions.
In 1607, Claudio Monteverdi premiered his Orfeo for the Carnival opening in the Court Theatre of Duke Vincenzo I of Gonzaga in Mantua. For the first time in the history of music, real characters are brought to life with deeply moving human feelings: with this exceptional dramatic power, modern opera is born. Stephane Fuget, a great specialist in this repertoire and it's historical instrumentalisation, after Il Ritorno d'Ulisse in Patria, has brought together some of the finest vocal and instrumental virtuosos for this new Orfeo: he has entrusted the eponymous role to the splendid and sensitive Julian Pregardien, to sing all the magnificence of the first true hero in the history of opera.
Harmonies of Devotion is both an exploration of the Italian motet repertory of the seventeenth and early eighteenth centuries and a celebration of the devotion to this sacred repertory displayed by English antiquarian collectors of the eighteenth century. Among the works recorded here for the first time are Giovanni Legrenzi's six-voice masterpiece Intret in conspectu tuo, which survives thanks to a copy made in London by Handel, a five-voice Crucifixus by Legrenzi's pupil Antonio Lotti, sent to London's newly formed Academy of Ancient Music, a grand Marian motet written for the Academy by Agostino Steffani, and music by Steffani's teacher Ercole Bernabei, again collected by members of London's antiquarian music clubs. The recording reveals lines of influence between teachers and pupils, and traces the lineage of the dramatic seconda prattica motet back to it's principal source and pioneer: Monteverdi.
With these songs from seventeenth-century Europe (Monteverdi and Purcell) and modern Latin America (Rodriguez, Jara, and others), two golden ages of song are juxtaposed on de Pasion Mortal. This is a vivid album that invites listeners into this wonderful, evocative music and to reflect on eternal human themes: love, loss, fear, ecstasy, and much more besides. Nicholas Mulroy, Elizabeth Kenny and Toby Carr offer performances of songs that are separated by time and space, but united by much else, and find expression in music full of beauty and unflinching truth. This pairing of old and new conveys a sense that, while the world turns and changes, people do not.
One of the key German composers before Bach with over 500 surviving individual pieces, Heinrich Schütz mainly composed church music. Credited with bringing the Italian style to Germany, he continued its evolution from the Renaissance into the early Baroque. Despite living most of his long life in Germany, Schütz made two trips to Venice in his twenties. The first was between 1609 and 1613, during which he studied under Giovanni Gabrieli. The second trip occurred in the late 1620s, possibly to meet and study under Monteverdi. These visits significantly influenced Schütz’s music as he blended the ornate and theatrical Venetian style with the more subdued Lutheran tradition. This album explores his solo cantatas alongside examples of the brilliant and virtuosic Venetian-style instrumental music.
Dolente Partita - Madonna e Maddalena - Works by Monteverdi and his contemporaries
Coviello
CD
$22.99Apr 05, 2024
The depiction of emotions came to the fore in the music of the late 16th century. Religious content is foregrounded, told from the perspective of the protagonists in order to generate compassion and understanding. In Tarquinio Merula's Canzonetta sopra la nanna, Mary's love for her child is just as palpable as her fear of his impending fate. Sacred songs such as the Salve Regina are transformed by Claudio Monteverdi into an intimate prayer to the Virgin Mary. Placing secular texts in a spiritual context was another means used by early Baroque composers. Claudio Monteverdi rewrote the then-popular Lamento d'Arianna as Lamento della Maddalena; Arianna, who laments for her beloved Theseus, becomes Marie Maddalena, who has been abandoned by Jesus. The Aria sopra la Romanesca by Paolo Quagliati is a reinterpretation of a love sonnet. "Working out and showing all these emotions in an almost theatrical style is the appeal of this music. We particularly enjoyed doing that," says Pia Davila.
Monteverdi: Vespro Della Beata Vergine / Pichon, Pygmalion
HARMONIA MUNDI
CD
$23.84Feb 16, 2024
After Stravaganza d'amore, their superb album of late sixteenth-century Florentine music, Raphaël Pichon and Pygmalion returned to Italy, this time to Mantua. Here they offer us their reading of one of the peaks of sacred music from this period: Monteverdi's Vespers. Revealing like no other interpreters the poignant interiority of these pieces, they bring out to the full their inherent sense of theatre for an overwhelming experience.
Malipiero & Monteverdi-Malipiero: Music for String Quartet / Quartetto Sincronie
Stradivarius
CD
$18.99Jan 05, 2024
In the dark years of the Nazi-Fascist period, when the light of the end was still far off, Malipiero completed a long-awaited undertaking: an edition of the complete works of Claudio Monteverdi. Its last volume, the sixteenth, came out in 1942 at the height of the war. The edition contained the sacred production that the publisher Vincenti had assembled in the collection Messa a 4 voci et salmi (1650).
Quartetto Sincronie’s choice to include an arrangement of Monteverdi’s Mass, alternating the parts with Malipiero’s work, is yet another example of reinvention-creation that Malipiero would likely have appreciated. In the composers’ poetics, instruments are asked to sing as voices, and so the opposite—voices translated to instruments—is fitting. Philological rigor was, after all, foreign to Malipiero’s worldview. Instead, the composer spoke of his relationship with Monteverdi as a kind of psychic channeling: finding synchronicity within the synchrony of listening, which dissolves the distance of centuries. The Mass for Four Voices is thus split into parts throughout the record, but it remains possible to orient oneself. The cohesion is melodic: there’s a descending tetrachord G-F-E-D at the beginning of the Kyrie that returns in various guises (inverted, diminished, augmented), articulating the contrapuntal fabric of the different movements. The listener can thus follow this pathway, from the Gloria to the Agnus Dei, in a zigzag that turns Monteverdi the sacred “refrain” to Malipiero’s profane cycle of quartets.
This substantial set dedicated to the vocal music of Claudio Monteverdi (1567–1643) features the great cycle undertaken (to date) by Krijn Koetsveld and the singers of Le Nuove Musiche: all nine books of madrigals, the music in Monteverdi collections such as the Selva Morale e Spirituale (1641), the posthumous Messa a quattro voci ed salmi (1650), and the individual works by Monteverdi compiled in the collections of others, the so-called Fragments. To this is joined the cycle of operas directed by Sergio Vartolo and sung by casts of Italian early music specialists, including the first recording of the five-act version of Il ritorno d’Ulisse in patria.
These thoroughly researched, historically informed interpretations demonstrate Monteverdi’s pioneering and transformative role in the emergence and development of staged, dramatic vocal music. Also featured are the grand Vespers – sacred music in the Gregorian plainchant tradition but on an operatic scale – in a fantastic recording with fine Italian soloists and authentic period instruments including the early brass of La Pifarescha. Federico Bardazzi and Ensemble Felice make scrupulous interpretative decisions about the order of movements, interpolating the choral motets within the prescribed sequence of psalms to great effect. Finally, there are Monteverdi’s youthful three-part canzonettas, written when the composer was 17. They are rather simpler than the madrigals, both to sing and to appreciate, but their musical worth is amply demonstrated by the largely female voices of Armoniosoincanto joined by a mixed period-instrument ensemble of flutes, violas, theorbo and harpsichord. They impart just the right light-hearted mood and dramatic impact to the playful, folkloric secular strophic poetry.
CONTENTS:
Monteverdi: Il primo libro de madrigali, 1587
Monteverdi: Il secondo libro de madrigali, 1590
Monteverdi: Il terzo libro de madrigali, 1592
Monteverdi: Il quarto libro de madrigali, 1603
Monteverdi: Il quinto libro de madrigali, 1605
Monteverdi: Il sesto libro de madrigali, 1614
Monteverdi: Il settimo libro de madrigali, 1619 'Concerto'
Monteverdi: Il ottavo libro de madrigali, 1638 'Madrigali guerrieri et amorosi'
Monteverdi: Il nono libro de madrigali, 1651
Monteverdi: O ciechi il tanto affaticar, SV 252
Monteverdi: Voi ch'ascoltate
Monteverdi: È questa vita un lampo
Monteverdi: Spuntava il dì, SV 255
Monteverdi: Chi vol che m’innamori
Monteverdi: Confitebor tibi III alla francese, SV267
Monteverdi: Gloria a 7, SV 258
Monteverdi: Crucifixus, SV 259
Monteverdi: Pianto della Madonna 'Iam moriar, mi fili' (sopra il Lamento dell'Arianna), SV 288
Monteverdi: Et resurrexit, a quattro
Monteverdi: Et iterum
Monteverdi: Laudate Dominum in sancta Eius
Monteverdi: Salve Regina, SV 285
Monteverdi: Laudate Dominum
Monteverdi: Beatus vir (from Selva Morale e Spirituali)
Monteverdi: Sanctorum meritis (Primo)
Monteverdi: Dixit [Dominus] Primo
Monteverdi: Ab aeternum, SV 262
Monteverdi: Confitebor tibi Domine, SV266
Monteverdi: Memento Domine David
Monteverdi: Laudate pueri Primo
Monteverdi: Salve Regina, SV 284
Monteverdi: Laudate Dominum omnes gentes II
Monteverdi: Magnificat Primo
Monteverdi: Gloria (1641)
Monteverdi: Dixit Dominus secondo a8 SV 192
Monteverdi: Deus tuorum militum sors et corona
Monteverdi: Confitebor tibi, Domine
Monteverdi: Iste confessor
Monteverdi: Beatus vir (second setting)
Monteverdi: Ut queant laxis, hymnus sancti Joannis
Monteverdi: Laudate pueri (Secondo)
Monteverdi: Deus tuorum militum sors et corona
Monteverdi: Credidi propter quod locutus sum, SV 275
Monteverdi: Jubilet a voce sola in dialogo
Monteverdi: Magnificat (Secondo)
Monteverdi: Salve Regina
Monteverdi: Laudate Dominum
Monteverdi: Canzonette
Monteverdi: Vespro della beata Vergine (1610)
Monteverdi: Cantate Domino
Monteverdi: O beatae viae
Monteverdi: Currite populi
Monteverdi: Ego flos campi
Monteverdi: Venite, venite
Monteverdi: Christe, adoramus te
Monteverdi: O quam pulchra es
Monteverdi: Salve Regina
Monteverdi: Fuge, anima mea
Monteverdi: Sancta Maria
Monteverdi: Domine, ne il furore
Monteverdi: Ego dormio
Monteverdi: Ecce sacrum paratum
Monteverdi: Salve Regina
Monteverdi: O bone Jesu, o piissime Jesu
Monteverdi: En gratulemur hodie, SV 302
Monteverdi: Laudate Dominum omnes gentes
Monteverdi: Adoramus te, Christe
Monteverdi: Messa a 4 voci da Cappella (1650)
Monteverdi: Dixit [Dominus] Primo
Monteverdi: Confitebor tibi, Domine
Monteverdi: Nisi Dominus a 6, SV201
Monteverdi: Laudate pueri
Monteverdi: Laetatus sum
Monteverdi: Lauda Jerusalem a 3, SV202
Monteverdi: Beatus vir (from Selva Morale e Spirituali)
Monteverdi: Magnificat Primo
Monteverdi: Missa 'In illo tempore' (1610)
Monteverdi: Dixit Dominus II
Monteverdi: Confitebor tibi Domine II, SV194
Monteverdi: Nisi Dominus a 6, SV201
Monteverdi: Laudate Dominum, SV197a
Monteverdi: Laetatus sum
Monteverdi: Laetaniae della Beata Vergine a 6 voci
Monteverdi: L'Incoronazione di Poppea / Cappella Mediterranea
Château de Versailles Spectacles
DVD
$34.99Oct 06, 2023
How to take the place of the empress of Rome? Poppaea, a courtesan and mistress of Emperor Nero, removes every obstacle that stands between her and the throne: she leaves her lover, Otho, the philosopher Seneca commits suicide, Empress Octavia is banished, and finally she achieves her goal, marrying Nero. Through Monteverdi’s music, this triumph of immorality is elevated into a hymn to the power of desire. Monteverdi’s last opera is also the first masterpiece of the genre, extraordinarily and enduringly modern. Here, it is filmed at the Opéra Royal de Versailles, with a young and committed cast, guided through a mafia-baroque world by director Ted Huffman and the sensational Leonardo García Alarcón!
Monteverdi: Frammenti / Koetsveld, Le Nuove Musiche
Brilliant Classics
CD
$6.99$13.99Save 50%Sep 22, 2023
On this album, we find a wonderful collection of often short sacred works by Monteverdi, all published in compilations made by others. Parts of psalms and hymns of all descriptions make up the texts – and always in the style that we know so well from, among others, the concertos in the Vespro della Beata Vergine; the pieces from the Selva Morale e Spirituale (a collection by Monteverdi himself, containing only his own music); and the posthumous collection from 1650, Messa a quattro voci ed salmi.
The repertoire on this album derives from multiple sources and was probably included in the various collections because the compiler simply liked it. Besides the polyphonic, madrigal-like pieces such as Adoramus te, Christe adoramus te and Domine in furore, the often highly virtuosic duets and solo pieces stand out. Sometimes, for example in Salve o regina, the embellishments are written out, which in turn teaches us a lot about how Monteverdi envisioned them.
A very special recording and interpretation of the famous Vespers of the Virgin Mary; "Vespro della Beata Vergine": Roberto Zarpellon leads the vocal ensemble "Venice Monteverdi Academy"; his ensemble "Lorenzo da Ponte" and the chorale schola "Reale Corte Armonica Caterina Cornaro" - all of them genuine Italians - in a recording that took place in the church where Monteverdi worked for three decades as Kapellmeister; namely the famous Basilica of San Marco in Venice. As far as music is concerned; this church with its magnificent mosaics and domes as well as its very transparent room acoustics was a place of pilgrimage for musicians and composers from near and far during the Renaissance and Baroque periods; with such illustrious names as Adrian Willaert; the organists Giovanni and Andrea Gabrieli and Monteverdi as maestro di capella.
Monteverdi: L'Orfeo / Mauillon, Mancini, Savall, Le Concert des Nations
Château de Versailles Spectacles
CD
$29.99May 26, 2023
Jordi Savall is painting Monteverdi in the colours of the Mediterranean. The Catalan maestro has entrusted the title role of this foundational work of Western music to a remarkable baritone: the magnificent Marc Mauillon embodies Orfeo, his resonant and ductile voice in perfect unison with the conductor’s musical vision. Here, a warm performance and rich sound reign supreme!
