Monteverdi - Scherzi Musicali
Recorded Chiesa di San Carlo, Modena (Italy), in February 2008
Emanuela Galli (soprano)
La Venexiana, Claudio Cavina
…Emanuela Galli… brings panache and rhythmic flexibility to 'Quel sguardo', and plaintiveness to 'Si dolc'è il tormento' - helped by the jazzy languidity of Doron Sherwin's cornett playing....
Monteverdi - Scherzi Musicali
Recorded Chiesa di San Carlo, Modena (Italy), in February 2008
Emanuela Galli (soprano)
La Venexiana, Claudio Cavina
Purchase product
…Emanuela Galli… brings panache and rhythmic flexibility to 'Quel sguardo', and plaintiveness to 'Si dolc'è il tormento' - helped by the jazzy languidity of Doron Sherwin's cornett playing....
About
La Venexiana has recorded all eight volumes of Monteverdi's madrigals, the Selva morale e spirituale and L'Orfeo. Here we have the Scherzi musicali published in Venice by Bartolomeo Magni in 1632, although pieces from other publications, such as the Arie di diversi raccolte of Vincenti (1634) and the Quarto scherzo delle ariose vaghezze of Milanuzzi (1624) are also included. By way of contrast, the finishing touch is provided by a dazzling and moving rendition of the Lamento di Arianna in an arrangement by Cavina himself, wherein the voice of Emanuela Galli, the star of this disc, is draped in a string ensemble led by Svetlana Fomina.
Contents and tracklist
Awards and reviews
October 2009
…Emanuela Galli… brings panache and rhythmic flexibility to 'Quel sguardo', and plaintiveness to 'Si dolc'è il tormento' - helped by the jazzy languidity of Doron Sherwin's cornett playing. …a spirited disc full of interesting music.
Awards Issue 2009
Claudio Cavina takes a flexible approach to what he calls Monteverdi's "light" music… Galli's breathy opening phrase of "Con que soavità" is exquisitely erotic… "Sì dolc'è il tormento" and "Et è pur dunque vero" both feature the effective combination of Doron David Sherwin's sensitive cornetto playing and Galli's emotive singing. The recital concludes with Cavina's new orchestration of the lament from the lost opera Arianna (1608); a sensuous string ensemble gives eloquent support to Galli, whose singing ideally conveys impassioned lamentation without becoming distorted.
26th July 2009
It is a strange album of “musical jokes” that ends with one of the most heart-rending outpourings of grief ever written for the theatre: the Lamento d’Arianna...Here, in a discreet “orchestration” by Cavina, it is the climax of a programme by the soprano Emanuela Galli, sumptuous in tone, noble in demeanour and trenchant in delivery of the Italian text.
7th August 2009
Claudio Cavina's orchestration is discreet; Galli's singing blazingly theatrical; it's the perfect ending to a wonderfully varied and always imaginative recital.
8th August 2009
Purists may snip at the friskiness of Claudio Cavina’s period band in these mostly jocular Monteverdi madrigals — sometimes they seem about to discover baroque jazz. Those even more pedantic might cast aspersions at the solo soprano Emanuela Galli for her earthy timbre and for teasing the notes. Myself, I appreciate La Venexiana’s energy.
