Capella Mediterranea – Monteverdi: L’Orfeo (2021) [FLAC 24 bit, 96 kHz]

Capella Mediterranea - Monteverdi: L'Orfeo (2021) [FLAC 24 bit, 96 kHz] Download

Artist: Capella Mediterranea
Album: Monteverdi: L’Orfeo
Genre: Classical
Release Date: 2021
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:45:32
Total Tracks: 81
Total Size: 2,05 GB

Tracklist:

1-01. Capella Mediterranea – L’Orfeo, SV 318: Toccata (01:30)
1-02. Mariana Florès – L’Orfeo, SV 318: Prologo – Dal mio permesso amato (06:27)
1-03. Scott Nicholas – No. 1, In questo lieto e fortunato giorno (01:30)
1-04. Choeur de Chambre de Namur – No. 2, Vieni Imeneo, deh vieni (00:54)
1-05. Julie Roset – No. 3, Muse, onor di Parnaso (01:00)
1-06. Choeur de Chambre de Namur – No. 4, Lasciate i monti (01:42)
1-07. Alessandro Giangrande – No. 5, Ma tu, gentil cantor (00:48)
1-08. Valerio Contaldo – No. 6, Rosa del ciel (02:09)
1-09. Mariana Florès – No. 7, Io no dirò qual sia (01:06)
1-10. Choeur de Chambre de Namur – No. 8, Lasciate i monti (00:31)
1-11. Capella Mediterranea – No. 9, Ritornello (00:20)
1-12. Choeur de Chambre de Namur – No. 10, Vieni Imeneo, deh vieni (00:55)
1-13. Carlo Vistoli – No. 11, Ma s’il nostro gioir dal Ciel deriva (00:46)
1-14. Capella Mediterranea – No. 12, Ritornello (00:20)
1-15. Scott Nicholas – No. 13, Alcun non sia che disperato in preda (00:32)
1-16. Capella Mediterranea – No. 14, Ritornello (00:22)
1-17. Julie Roset – No. 15, Che poi che nembo rio gravido il seno (00:32)
1-18. Capella Mediterranea – No. 16, Ritornello (00:28)
1-19. Scott Nicholas – No. 17, E dopo l’aspro gel del Verno ignudo (00:33)
1-20. Choeur de Chambre de Namur – No. 18, Ecco Orfeo (00:50)
1-21. Capella Mediterranea – No. 1, Sinfonia (00:17)
1-22. Valerio Contaldo – No. 2, Ecco pur ch’a voi ritorno (00:16)
1-23. Scott Nicholas – No. 3, Ritornelli – Mira ch’a sé n’alletta l’ombra (00:38)
1-24. Capella Mediterranea – No. 4, Ritornello (00:13)
1-25. Scott Nicholas – No. 5, In questo prato adorno – Ritornello (00:35)
1-26. Scott Nicholas – No. 6, Ritornelli – Qui le Napee vezzose (00:33)
1-27. Choeur de Chambre de Namur – No. 7, Dunque fa degno Orfeo (00:12)
1-28. Valerio Contaldo – No. 8, Ritornelli – Vi ricorda, o bosch’ombrosi (02:02)
1-29. Scott Nicholas – No. 9, Mira, deh mira Orfeo (00:26)
1-30. Alessandro Giangrande – No. 10, Ahi caso acerbo (01:58)
1-31. Valerio Contaldo – No. 11, D’onde vieni? (01:06)
1-32. Giuseppina Bridelli – No. 12, In un fiorito prato (02:44)
1-33. Scott Nicholas – No. 13, Ahi caso acerbo! (01:05)
1-34. Valerio Contaldo – No. 14, Tu se’ morta (02:29)
1-35. Choeur de Chambre de Namur – No. 15, Ahi caso acerbo! (01:21)
1-36. Giuseppina Bridelli – No. 16, Ma io, ch’in questa lingua (01:30)
1-37. Capella Mediterranea – No. 17, Sinfonia (01:15)
1-38. Scott Nicholas – No. 18, Chi ne consola, ahi lassi? (02:15)
1-39. Choeur de Chambre de Namur – No. 19, Ahi caso acerbo! (00:33)
1-40. Scott Nicholas – No. 20, Ma dove, ah dove or sono de la misera ninfa (02:15)
1-41. Choeur de Chambre de Namur – No. 21, Ahi caso acerbo! (00:35)
1-42. Capella Mediterranea – No. 22, Ritornello (00:41)
2-01. Capella Mediterranea – No. 1, Sinfonia (01:10)
2-02. Valerio Contaldo – No. 2, Scorto da te, mio Nume (01:30)
2-03. Ana Quitans – No. 3, Ecco l’altra palude (02:59)
2-04. Valerio Contaldo – No. 4, Ecco l’altra palude (00:47)
2-05. Salvo Vitale – No. 5, O tu ch’innanzi morta a questa rive (01:19)
2-06. Capella Mediterranea – No. 6, Sinfonia (00:48)
2-07. Valerio Contaldo – No. 7, Possente spirto, e formidabil nume (08:29)
2-08. Salvo Vitale – No. 8, Ben mi lusinga alquanto (00:41)
2-09. Valerio Contaldo – No. 9, Ahi, sveturato amante (01:08)
2-10. Capella Mediterranea – No. 10, Sinfonia (00:51)
2-11. Valerio Contaldo – No. 11, Ei dorme (02:16)
2-12. Capella Mediterranea – No. 12, Sinfonia a 7 (00:31)
2-13. Choeur de Chambre de Namur – No. 13, Nulla impresa per uom si tenta invano (02:04)
2-14. Capella Mediterranea – No. 14, Sinfonia a 7 (00:38)
2-15. Ana Quitans – No. 1, Signor, quell’infelice (02:49)
2-16. Alejandro Meerapfel – No. 2, Benché severo ed immutabil fato (01:56)
2-17. Choeur de Chambre de Namur – No. 3, O degli abitator de l’ombre eterne (00:50)
2-18. Ana Quitans – No. 4, Quagli grazie ti rendo (01:05)
2-19. Alejandro Meerapfel – No. 5, Tue soave parole (00:47)
2-20. Choeur de Chambre de Namur – No. 6, Pietade, oggi (00:27)
2-21. Philippe Favette – No. 7, Ecco il gentil cantore (00:15)
2-22. Valerio Contaldo – No. 8, Ritornelli – Qual honor di te fia degno (02:16)
2-23. Choeur de Chambre de Namur – No. 9, Ma che odo? (00:54)
2-24. Mariana Florès – No. 10, Ahi, vista troppo dolce e troppo amara (01:46)
2-25. Valerio Contaldo – No. 11, Dove te’n vai, mia vita? (00:42)
2-26. Capella Mediterranea – No. 12, Sinfonia a 7 (00:35)
2-27. Choeur de Chambre de Namur – No. 13, È la virtute un raggio (01:36)
2-28. Capella Mediterranea – No. 14, Sinfonia a 7 (00:43)
2-29. Capella Mediterranea – No. 1, Ritornello (00:51)
2-30. Valerio Contaldo – No. 2, Questi i campi di Tracia (03:44)
2-31. Valerio Contaldo – No. 3, S’hai del mio mal pietade (01:45)
2-32. Valerio Contaldo – No. 4, Tu bella fusti e saggia (01:14)
2-33. Valerio Contaldo – No. 5, Hor l’altre donne son superbe e perfide (00:42)
2-34. Capella Mediterranea – No. 6, Sinfonia (00:25)
2-35. Valerio Contaldo – No. 7, Perch’a lo sdegno (03:48)
2-36. Valerio Contaldo – No. 8, Saliam cantando al cielo (01:13)
2-37. Capella Mediterranea – No. 9, Ritornello (00:14)
2-38. Choeur de Chambre de Namur – No. 10, Vanne Orfeo, felice a pieno (00:44)
2-39. Capella Mediterranea – No. 11, Moresca (00:46)

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Monteverdi’s L’Orfeo is naturally an iconic work for Leonardo Garc’ia Alarc’on. The Argentinian conductor has performed and matured his interpretation of Monteverdi’s masterpiece throughout his life. Together with his group of soloists, the Namur Chamber Choir and the Cappella Mediterranea ensemble, he now presents his vision of L’Orfeo: Monteverdi’s opera is as much the apotheosis of the Renaissance as a testimony to the nascent Baroque style. This is what strikes us when we listen to this new recording, which so eloquently emphasises the contrasts between sometimes nostalgic glances towards the past and the most innovative expressions of operatic language. The printed score, published two years after the premiere in Mantua in 1607, offers contrasts too: is it the snapshot of a specific performance or a ‘blueprint’ intended for future performers? In fact, it is both, and that is where we find the tricky questions that must be answered by those who open this precious document; Leonardo Garc’ia Alarc’on does so here in a manner at once respectful, inventive and theatrical.

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