Monteverdi - Primo libro & nono libro dei madrigali
La Venexiana, Claudio Cavina
There is some terrific bass solo singing by Matteo Bellotto in 'Alcun non mi consigli' a nice theatrical delivery in 'Bel pastor', and some engaging bravura in 'Zefiro torna'.
Monteverdi - Primo libro & nono libro dei madrigali
La Venexiana, Claudio Cavina
Purchase product
There is some terrific bass solo singing by Matteo Bellotto in 'Alcun non mi consigli' a nice theatrical delivery in 'Bel pastor', and some engaging bravura in 'Zefiro torna'.
About
To complete their masterful Monteverdi Edition, Claudio Cavina and La Venexiana start at the beginning - the Madrigali a cinque voci… Book One. Monteverdi's exploration of the madrigal art form, was to occupy the composer for more than 50 years.
In approaching the Libro primo, published in 1587 when the composer was barely 20 years old, yet demonstrably showing clear evidence of to his approaching maturity, La Venexiana's performances are faithful to Monteverdi's passion for the written word, above all to the weighty theme of
love. In this final release in the Monteverdi Edition Cavina adds a twist in the tail by including on this new CD the madrigals from the posthumous Book nine put together by the composer's Venetian publisher.
Contents and tracklist
Awards and reviews
Proms 2008
There is some terrific bass solo singing by Matteo Bellotto in 'Alcun non mi consigli' a nice theatrical delivery in 'Bel pastor', and some engaging bravura in 'Zefiro torna'.
23rd May 2008
[La Venexiana] deliver what remains of [Book 9] with a wonderful sense of line, purity of tone, and instinct for colour and meaning, the quality of the music sometimes lets them down. If there is nothing in the first book to compare with the glories of the vocal writing that emerged over the next five decades, there's not too much in the ninth that's really out of the top drawer either.
28th June 2008
This final volume of La Venexiana's superb complete edition brings together the beginning and the end of Monteverdi's madrigalian journey.
The key characteristic shared by the 20-year-old composer's five-part pieces and the posthumously published canzonettas is his ability to write music that seems to grow spontaneously out of the words. La Venexiana's perfectly enunciated singing does full justice to the meticulously placed gestures and anguished chromatic harmonies.
