Clorinda e Tancredi: Love scenes by Claudio Monteverdi

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[Dordolo’s] firm clear diction and sensitive rhetorical control, which at times moves into a kind of speech-song, extracts every last ounce of carefully calculated drama from Monteverdi’s narrow... — Gramophone Magazine, March 2018 More…

Release Date: 8th Dec 2017
Catalogue No: GCD923512
Label: Glossa
Length: 69 minutes

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Excerpt, Monteverdi: Il nono libro de madrigali, 1651

Work length5:36

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Francesca Lombardi Mazzulli (soprano), Luca Dordolo (tenor), Marco Mencoboni (harpsichord)
Cantar Lontano

Madrigali e canzonette, Book 9: Bel pastor dal cui bel sguardo, SV 168

Track length5:36

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Monteverdi: Et e pur dunque vero, SV 250

Work length7:51

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Francesca Lombardi Mazzulli (soprano), Marco Mencoboni (harpsichord)
Cantar Lontano

Et è pur dunque vero, SV 250

Track length7:51

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Monteverdi: Eri già tutta mia

Work length3:15

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Francesca Lombardi Mazzulli (soprano), Marco Mencoboni (harpsichord)
Cantar Lontano

Eri già tutta mia, SV 248

Track length3:15

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Excerpt, Monteverdi: Il ottavo libro de madrigali, 1638 'Madrigali guerrieri et amorosi'

Work length20:17

Album only

Riccardo Pisani (tenor), Francesca Lombardi Mazzulli (soprano), Luca Dordolo (tenor), Marco Mencoboni (harpsichord)
Cantar Lontano

Madrigals, Book 8 "Madrigali guerrieri, et amorosi: Combattimento di Tancredi e Clorinda, SV 153

Track length20:17

Album only

Monteverdi: Voglio di vita uscir, voglio che cadano

Work length4:53

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Francesca Lombardi Mazzulli (soprano), Marco Mencoboni (harpsichord)
Cantar Lontano

Voglio di vita uscir, voglio che cadano, SV 337

Track length4:53

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Monteverdi: Lamento della Ninfa (Book 8), SV 163

Work length7:43

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Davide Benetti (bass), Luca Dordolo (tenor), Riccardo Pisani (tenor), Marco Mencoboni (harpsichord), Francesca Lombardi Mazzulli (soprano)
Cantar Lontano
Recorded: 9-12 November 2016
Recording Venue: Pieve Vecchia di Ginestreto, Pesaro, Italy

Lamento della ninfa, SV 163: Non avea Febo ancora

Track length1:29

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Lamento della ninfa, SV 163: Amor, dicea, il ciel mirando

Track length5:32

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Lamento della ninfa, SV 163: Sì tra sdegnosi pianti

Track length0:42

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Monteverdi: Scherzi Musicali

Work length1:22

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Francesca Lombardi Mazzulli (soprano), Marco Mencoboni (harpsichord)
Cantar Lontano

Scherzi musicali cioè arie et madrigali: No. 4, Prima parte. Ecco di dolci raggi il sol armato, SV 249

Track length1:22

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Monteverdi: Se i languidi miei sguardi

Work length7:34

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Luca Dordolo (tenor), Marco Mencoboni (harpsichord)
Cantar Lontano

Monteverdi: Si dolce è'l tormento (from Libro Nono di Magrigali e Canzonette)

Work length3:23

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Francesca Lombardi Mazzulli (soprano), Marco Mencoboni (harpsichord)
Cantar Lontano

Sì dolce è'l tormento, SV 332

Track length3:23

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Sances: Usurpator tiranno

Work length7:54

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Francesca Lombardi Mazzulli (soprano), Marco Mencoboni (harpsichord)
Cantar Lontano

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In Clorinda e Tancredi, a programme built around the vocal talents of soprano Francesca Lombardi Mazzulli and tenor Luca Dordolo, Marco Mencoboni and Cantar Lontano provide a powerful display of how, in his later secular works, Claudio Monteverdi made the music serve the word at its most intense. A sequence of madrigals – in the broadest sense of the definition of the form – is spearheaded by a dramatic interpretation of the Combattimento di Tancredi e Clorinda (with Luca Dordolo as Testo).

Francesca Lombardi Mazzulli – who also appeared on Glossa’s recent Alcina of Francesca Caccini and Silla of Handel – takes centre stage for an impassioned rendition of the Lamento della ninfa, an ostinato driven work nicely counterbalanced on this recording by a bonus track of Giovanni Felice Sances’ mesmerizing Usurpator tiranno. Two of the other pieces chosen to represent the Baroque musical “shock of the new” for this recording prepared by the Monteverdi specialist Marco Mencoboni are Ed è pur dunque vero (from the Scherzi musicali) and the Lettera amorosa (Settimo libro dei madrigali).

In his booklet essay for this new manifestation of Glossa’s abiding passion for the Seicento, Pierre Élie Mamou offers an absorbing analysis of Monteverdi’s adoption of the stile moderno, especially in terms of how it clashed with the ideals of Giovanni Maria Artusi and how it was expressed so potently in the Combattimento.

Reviews

March 2018

[Dordolo’s] firm clear diction and sensitive rhetorical control, which at times moves into a kind of speech-song, extracts every last ounce of carefully calculated drama from Monteverdi’s narrow vocal range…No serious Monteverdian will want to be without it.

Clorinda e Tancredi

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