Listen on Presto Music. Free thirty day trial. Find out more.

Caccini, G: Euridice

Silvia Frigato (Euridice, La Tragedia), Furio Zanasi (Orfeo), Giampaolo Fagotto (Arcetro), Luca Dordolo (Tirsi, Aminta), Sara Mingardo (Dafne, Proserpina), Monica Piccinini (Venere), Antonio Abete (Plutone), Matteo Bellotto (Radamanto) & Mauro Borgioni (Caronte)

Concerto Italiano, Rinaldo...

With its stylish Italian cast directed by Rinaldo Alessandrini...this is a precious recording...there are a few moments of slack ensemble, but the performance has a sense of dramatic spontaneity... — BBC Music Magazine, June 2014, 4 out of 5 stars More…

Release Date: 10th Mar 2014
Catalogue No: OP30552
Label: Naive
Length: 79 minutes

Caccini, G: L'Euridice

Work length1:19:09

$22.00

$28.60

Silvia Frigato (soprano), Furio Zanasi (baritone), Gian Paolo Fagotto (tenor), Luca Dordolo (tenor), Sara Mingardo (contralto), Monica Piccinini (soprano), Antonio Abete (bass), Matteo Bellotto (bass), Mauro Borgioni (baritone), Anna Simboli (soprano), Raffaele Giordani (tenor), Marco Scavazza (baritone)
Concerto Italiano
Rinaldo Alessandrini
Recorded: August 2013
Recording Venue: Innsbrucker Festwochen der Alten Musik, Austria

Sinfonia

Track length1:18

$1.00

$1.30

Prologo: Io, che d'alti sospir vaga (La Tragedia)

Track length4:01

$1.00

$1.30

Scene 1: Ninfe, ch'i bei crin d'oro (Shepherd, Nymph, Chorus)

Track length3:17

$1.00

$1.30

Scene 1: Donne, ch'ha miei diletti (Euridice, Shepherd)

Track length2:30

$1.00

$1.30

Scene 1: Itene liete pur (Nymph, Chorus, Shepherd)

Track length4:18

$1.00

$1.30

Scene 2: Antri, ch'ha miei lamenti (Orfeo, Arcetro, Tirsi)

Track length5:35

$1.00

$1.30

Scene 2: Lassa, che di spavento (Dafne, Arcetro, Orfeo, Shepherd)

Track length7:28

$2.00

$2.60

Scene 2: Non piango, e non sospiro (Orfeo)

Track length1:27

$1.00

$1.30

Scene 2: Dunque e pur ver (Nymph, Aminta, Shepherd, Chorus, 2 Nymphs)

Track length8:16

$2.00

$2.60

Scene 3: Se fato invido e rio (Arcetro, Shepherd)

Track length4:41

$1.00

$1.30

Scene 3: A te, qual tu ti sia (Shepherd, Chorus, Nymph)

Track length2:53

$1.00

$1.30

Scene 4: Scorto da immortal guida (Venere, Orfeo)

Track length2:11

$1.00

$1.30

Scene 4: Funeste piagge (Orfeo)

Track length3:58

$1.00

$1.30

Scene 4: Ond'e cotanto ardire (Plutone, Orfeo)

Track length5:10

$1.00

$1.30

Scene 4: O re, nel cui sembiante (Proserpina, Orfeo, Plutone, Radamanto, Caronte)

Track length5:37

$1.00

$1.30

Scene 4: Poi che gli eterni imperi (Infernal Shades and Deities)

Track length2:42

$1.00

$1.30

Scene 5: Gia del bel carro ardente (Arcetro, Shepherd, Aminta)

Track length3:58

$1.00

$1.30

Scene 5: Quando al tempio n'andaste (Aminta, Shepherd)

Track length4:02

$1.00

$1.30

Scene 6: Gioite al canto mio (Orfeo, Nymph, Euridice, Shepherd, Dafne, Aminta)

Track length4:40

$1.00

$1.30

Scene 6: Biondo arcier (Chorus)

Track length1:07

$1.00

$1.30

About
Reviews
Explore

About

Naive are delighted to present a new recording of what is considered as the first opera: 'L'Euridice', by Caccini. Conducted by Rinaldo Alessandrini, featuring an impressive range of singers (Sara Mingardo, Furio Zanasi, Silvia Frigato etc.) this very special work was staged and performed at the 2013 edition of the prestigious Innsbruck Festwochen. In the text Rinaldo Alessandrini wrote for the booklet, he explains what makes the work into a musical milestone.

"The marriage of Maria de’ Medici to Henri IV of France, celebrated in Florence on 5 October 1600, provided the opportunity for Jacopo Peri and Giulio Caccini (known as ‘il Romano’) to beget what can be regarded as the first opera of which we still have a trace today: 'L’Euridice', on a text by Ottavio Rinuccini… More than 400 years separate us from Caccini’s 'Euridice', and it is this that constitutes the greatest obstacle to our understanding of this first dramatic event to combine text and music on a stage. Caccini, like Peri, contextualises and makes concrete the necessity of individual and subjective expression, through the human voice. They theorise and demand passion [l’affetto] as the primary condition that legitimises this new style – for it is a question of style even before that of a new kind of composition."

Artists

Concerto Italiano, Rinaldo Alessandrini

Reviews

June 2014

With its stylish Italian cast directed by Rinaldo Alessandrini...this is a precious recording...there are a few moments of slack ensemble, but the performance has a sense of dramatic spontaneity and a linearity often missing from more heavily edited versions. Sivlia Frigato is suitably dewy-voiced in the title-role.

May 2014

Frigato's contributions are sweetly endearing...Alessandrini and his continuo colleagues ensure the drama zips along at an intensive pace, although the battery of full-frontal plucking wears thin after a while.

August 2014

The superb cast assembled by Alessandrini reads like a list of the luminaries of the current Italian early-music scene, and all involved clearly recognize that here it is not beautiful singing but the cleanly articulated and expressive delivery of the text that is required. While it would be invidious to single out individual members from what is essentially an ensemble piece, I can’t resist the temptation to except the Arcetro (the friend of Orfeo) of that wonderfully idiosyncratic tenor Gianpaolo Fagotto.

16th March 2014

Alessandrini and his elite Italian Renaissance/baroque specialists...give as much weight to Rinuccini’s words as to Caccini’s notes, but the entire “complesso” shines in the exquisite and thrilling madrigalian choruses. A fabulous disc.

20th March 2014

wonderfully characterful singing...the story-telling power of the music is never compromised. It's a must for anyone curious about the beginnings of opera in the early 17th century.

Opera Now

The gorgeous contralto of Sara Mingardo (Daphne and Persephone) is the real highlight and Furio Zanasi is a solid Orpheus; some of the down-table singers are less enchanting.

Caccini, G: Euridice

Downloads

Contents

Download queue