Monteverdi: L'Orfeo

Editorial Reviews
Amazon.com
It seems natural that of all mythological heroes, Orpheus, a singer endowed with matchless musical gifts, should appeal to so many opera composers. L'Orfeo, which premiered at the Court of Mantua in 1607, was Monteverdi's first opera. This fairly new genre sought to combine performing practices of Greek and Roman antiquity with music capable of arousing and expressing emotions through a dramatic text. Alessandro Striggio's libretto gives the story an unusual perspective: it focuses on the power of music, but also on the need for self-discipline. Orpheus, having conquered the forces of death and Hades, is undone by his inability to accept the transience of mortal joy and to control his own impulses. Thus, the opera ends differently from the myth, as well as from the more famous opera by Gluck: Apollo, Orpheus' father, appears and offers him eternal bliss in Heaven. The music is enchantingly beautiful. The vocal lines are cast in the rhetorical "speech-song" used at the time, which carries the dramatic action and expresses the emotions of the characters; however, there is much elaborate coloratura and ornamentation at crucial moments. Instrumental "ritornellos" alternate with the vocal sections in infinitely varied, imaginative combinations, and the wonderfully rich-sounding chorus, impersonating shepherds, friends and furies, adds commentary in chorale-like or contrapuntal settings. The performance is superb. In the prominent part of Orpheus, Ian Bostridge is riveting, changing and coloring his voice to express joy, hope, pleading, passion, anguish, despair; even the intricate coloratura passages add to the emotional impact. Also outstanding are Natalie Dessay, Alice Coote, Mario Luperi and Christopher Maltman. The orchestra is a crucial element, supporting the singers, sometimes with answering and echoing solo lines, setting mood and atmosphere in the instrumental sections; the brass choir passages---solemn, somber, gloriously triumphant---are especially striking. Interestingly, though the strings play without vibrato, the singers mostly use full, vibrant voice. --Edith Eisler

Tracks:

O mio babbino caro (from 'Gianni Schicchi')
The Girl With Flaxen Hair (from Preludes, Book I; La fille aux cheveux delin: Prelude for Piano L 117/8)
Nocturne in C sharp minor (Op Post)
The Swan (from Carnival of the Animals)
Serenade (from 'Schwanengesang' song cycle for voice and piano, D 957
Casta Diva (from 'Norma')
Andante from Piano Concerto No. 21 in C Major K. 467
Nocturne from Quartet for Strings No. 2 in D Major: 3rd movement
Dance of the Blessed Spirits (from 'Orfeo ed Euridice')
Songs My Mother Taught Me, song for voice and piano B104/4 Op 55/4
Pur ti Miro (from 'L'incoronazione di Poppea')
Elegie (Elegie 'O doux printemps d'autrefois' for voice and piano)
Traumerei ('Kinderszenen' for piano, Op 15, No. 7 'Dreaming')

Amazon.com

Every track on this CD contains a beautiful melody, many of them easily recognizable, all of them exuding tranquility. "O mio babbino caro" from Puccini's Gianni Schicchi opens the disc, with Bell delicately accompanied by a harp and spinning the long melody with great sensitivity. Bellini's "Casta diva" from Norma lives up to its reputation as the epitome of bel canto in Bell's hands; his violin sings. The middle movement of Mozart's 21st Piano Concerto takes well to the violin, and Debussy's "The Girl with the Flaxen Hair" is played with great warmth and sensuality. It would be easy to turn a recital like this into treacle, but Bell is wise enough to realize that the music is already sweet enough and he plays with great reserve and a minimum of sentimental slides. The light accompaniments always support, with woodwinds prominent but used with grace. This CD, in short, is a beauty: a fine gift, a lovely mood setter. --Robert Levine

Customer Reviews:

Romance of the Violin.......2007-07-16

While it's not my very favorite Joshua Bell CD, this is a pleasure to listen to!

End of the Day.......2007-06-08

I am a Joshua Bell fan, and this album is the one that I enjoy with my dessert, it calms me at the end of the day, and makes me think of my 6 year old granddaughter's visit. She has to have music on during meals at her home. Usually it is some kid stuff, but I do not have anything like she has at home, so I chose to play Joshua Bell during our dinner. When I placed the dessert before her, she looked up at me and said: "This music is so beautiful, I want to play the violin just like that". What more could I say.
He is inspiring, and she is right. This album is beautiful.

Wonderful!.......2007-05-30

I play this for my grandson to nap by. It is so relaxing and wonderful!

Over and over and over...........2007-05-17

That's how I want to play this CD! It's a wonderful line-up of rich, mellow, captivating compositions played with a warmth and vibrancy that is seldom heard. Joshua at his very best. You won't be disappointed.

Non-standard CD format.......2007-04-22

The music on this CD deserves five stars, but the CD itself is a non-standard format that doesn't work on all players. There's a tiny warning on the back of the CD. You won't notice the warning until you discover that the CD doesn't work on your player. My Macintosh computer wouldn't read the non-standard format so there was no way for me to listen in my office or put the music on my iPod.

A friend's PC was able to read the CD and make a copy in standard format that can be read on any player, including my Mac. The story had a happy ending, but I can not comprehend why the publisher chose the oddball CD specification.

The music is excellent and worth the trouble of making a copy, but the publisher really shouldn't make you go to that effort just to listen to a CD that you paid for.

Average customer rating:

Kudo's for Wendy Carlos
Difficulty in placing an order
interesting concept, skillful interpretation, but sounds very dated now
Great Album, but. . .
As good as I remembered it!

The Well-Tempered Synthesizer
Wendy Carlos
Manufacturer: East Side Digital
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Switched-On Bach
Switched-On Bach II
A Clockwork Orange: Wendy Carlos's Complete Original Score
Switched-On Brandenburgs
By Request

ASIN: B00005OKS2
Release Date: 2001-10-02

Tracks:

Monteverdi: Orfeo Suite
Scarlatti: Sonata In G Major
Scarlatti: Sonata In D Major
Handel: Water Music: Bourree
Handel: Water Music: Air
Handel: Water Music: Allegro Deciso
Scarlatti: Sonata In E Major
Scarlatti: Sonata In D Major
Bach: Brandenburg Concerto #4 in G Major: Allegro
Bach: Brandenburg Concerto #4 in G Major: Andante
Bach: Brandenburg Concerto #4 in G Major: Presto
Monteverdi: Domine Ad Adjuvandum
Stereo Alignment Tones
Well-Tempered Experiments

Customer Reviews:

Kudo's for Wendy Carlos.......2007-01-16

Wendy Carlos does an excellent job of updating all of the Classical pieces on this CD, as well as on all of her other CDs. I originally had this on Open Reel Tape, and am really happy that she has ported it over to the CD format! All of the selections on this CD can only be termed as "stirring" and it is enjoyable to hear each time it is played.

Difficulty in placing an order.......2007-01-04

Because I had difficulty navigating through the purchase process, I ended up receivibg two and I only wanted one. I gave one away. You need to review the purchase process and have a "done" or something to indicate that Amazon has received the purchase request and will act upon it. Or else I will find someone else with whom to do business!!!!

interesting concept, skillful interpretation, but sounds very dated now.......2006-12-26

As a performance, the music here is fantastic, and considering the challenges of monophonic sythesizers it is very impressively and skillfully performed. That said, if like me you were born after electronic music became commonplace, this will sound incredibly dated. The problem is that the sound programming abilities of the first moogs were limited, so the sounds are not very fitting to the music, creating a slightly comical kitschy mock-futuristic effect. Part of this effect is the womp womp womp beep beep beep sounds that now sound corny. While interesting, it sounds very anachronistic and less evocative than real instruments. I think I'll go back to orchestral performances of classical music. I'll keep this in case I ever want to make a campy future film spoof. Wow, I sure said "sound " a lot. Well, this really is all about the sounds.

Great Album, but. . ........2006-08-08

I have always enjoyed this album and Switched on Bach ever since they came out in LP form when I was young.
The thing that ruins the CD for me is the very last track on both albums, where Wendy discusses the making of the album, called Well-tempered experiments.
I think that is fun to listen to the first time you play it, but then it is obnoxious when you are playing it as you work around the house. Your home is filled with music, then suddenly, there is talking and some obnoxious noises. It just shouldn't be there.
And to do this to both albums is very disappointing. It is hard to ignore, as it is a 9 minute track!
I solved this by burning both albums onto another CD and eliminating the experiment tracks. But I would rather have the original CD's and eliminate those tracks.

As good as I remembered it!.......2006-03-03

I heard "The Well-Tempered Synthesizer" when it was first issued; like many people I was stunned by the strange, beautiful sound created by a "machine". Then I read about the difficulty of making the recordings, which took tremendous time and thoughtfulness, and this made me appreciate the human element more than the technology.

Imagine someone who, to cook breakfast, designs a henhouse, raises chickens, gathers the eggs, grinds wheat to make bread, picks fresh strawberries...all for a breakfast that could be made more easily using traditional sources or methods. Pardon the clumsy metaphor, but this is what Carlos had done: giving me Bach, by creating a new kind of chicken to get to the egg.

The sounds one hears in this recording are not as sophisticated as more modern synthetic voices, but they are still pristine and haunting. There is a sort of lonely, cosmic emptiness to the sound, but this is not discomforting; in fact, the music triumphs over the strangeness that no human hand or throat moved during the process, except at the keyboard and the 747-cockpit looking control panel of the Moog synthesizer.
Having a CD of this music is a joy, and the music delights.

Monteverdi - L'Orfeo / Rolfe Johnson, Dawson, von Otter, Argenta, M. Nichols, Tomlinson, Chance, Baird; Gardiner

Average customer rating:

Great recording of a beautiful opera
a voice teacher and early music fan
Gardiner and crew are amazing!
One of the most beautiful operas of all time
My favourite recording of any Opera

Monteverdi - L'Orfeo / Rolfe Johnson, Dawson, von Otter, Argenta, M. Nichols, Tomlinson, Chance, Baird; Gardiner
Claudio Monteverdi , John Eliot Gardiner , Anthony Rolfe Johnson , Lynne Dawson , His Majesty's Sackbutts and Cornetts , English Baroque Soloists , Monteverdi Choir , Nancy Argenta , Anne Sofie von Otter , Julianne Baird , Mary Nichols , Simon Birchall , John Tomlinson , Michael Chance , Mark Turner , and Howard Milner
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Purcell: Dido and Aeneas / James, Lewis, Baker, Herincx
Monteverdi - L'incoronazione di Poppea / McNair, von Otter, Hanchard, Chance; Gardiner
Wagner: Tristan und Isolde
Monteverdi: Vespro della Beata Vergine 1610/Venetian Vespers
Monteverdi: Vespro Della Beata Vergine

ASIN: B0000057CV
Release Date: 1990-10-25

Tracks:

L'Orfeo: Toccata
L'Orfeo: 'Dal mio Permesso' (La Musica)
L'orfeo: Act I: 'In questo lieto e fortunato giorno'
L'orfeo: Act I: 'Lasciate i monti'
L'orfeo: Act I: 'Rosa del ciel'
L'orfeo: Act I: 'Ma se il nostro gioir'
L'orfeo: Act II: 'Ecco pur ch'a voi ritorno'
L'orfeo: Act II: 'Mira ch s'alletta'
L'orfeo: Act II: 'Vi ricorda, o bosch'ombrosi'
L'orfeo: Act II: 'Ahi, caso acerbo'
L'Orfeo: 'Ahi, caso acerbo'
L'orfeo: Act II: 'Chi ne consola, ahi lassi?'

Tracks:

L'orfeo: Act III: 'Scorto da te, mio Nume'
L'orfeo: Act III: 'O tu, ch'inanzi morte'
L'orfeo: Act III: 'Possente spirto'
L'orfeo: Act III: 'Ben mi lusinga'
L'orfeo: Act III: 'Nulla impresa per uom'
L'orfeo: Act IV: 'Signor, quel infelice'
L'orfeo: Act IV: 'Pietade, oggi, e amore'
L'orfeo: Act IV: 'Qual onor di te'
L'orfeo: Act IV: 'Ahi, vista troppo dolce'
L'orfeo: Act IV: 'E la virtute un raggio'
L'orfeo: Act V: 'Questi i campi di Tracia'
L'orfeo: Act V: 'Perch lo sdengo'
L'orfeo: Act V: 'Vanne Orfeo'
L'orfeo: Act V: Moresca

Amazon.com essential recording

History's first great opera--the story of Orpheus descending to Hades to retrieve his bride Eurydice from the dead, only to lose her again--gets a fine performance (the best overall version currently available) from John Eliot Gardiner and his musicians. Anthony Rolfe Johnson performs the title role with all the beautiful sound you'd expect from an Orfeo; he negotiates virtuoso passages flawlessly and sings passionately without overwhelming Monteverdi's music with too much voice. Julianne Baird as Eurydice and Anne Sofie Von Otter in a gripping appearance as the Messenger are the standouts in a cast without a weak link. Everyone involved, including the chorus and orchestra, performs with such energy, beauty, and precision that even long stretches of recitative never pall. --Matthew Westphal

Customer Reviews:

Great recording of a beautiful opera.......2007-03-29

Gardiner's recording of L'Orfeo is exquisite. The samples of different tracks as well as other listeners' reviews were very influential in my decision to purchase these CDs rather than a different recording of the opera. I am very happy with my new CDs and would highly recommend this product.

a voice teacher and early music fan.......2006-05-13

This opera in performance is begun by the character "La Musica", or music personified ,who delivers a long treatise which in essence proclaims how music can do many things to us emotionally. As this "fable of music" (Monteverdi called it) unfolds we are exposed to the whole gamut of human emotions,from the most euphoric to the most dejected,presented in musical language that is perhaps closer to impassioned speech than recitative has ever been, before or since. The fact that Monteverdi's L'Orfeo has been referred to as the "first true opera in the history of music" has much to do with the fact that Monteverdi had the dramatic ability to synthesize the text, the stage and the music. And it was a favourable time historically and musically to do so. Moreover, he gave very specific directions as to how it would be put together. And what better musician to record it than John Eliot Gardiner. He has gathered together a wonderful group of soloists in every role; although some parts are small each contribution is perfection which makes for a superb offering to the listener!!!!!In addition, I think the Choral singing was so superior to some other recordings past and present. If you are an early music fan these discs will be truly "music to your ears".

Gardiner and crew are amazing!.......2005-09-17

I am not a big fan of Gardiner when it comes to some music, for instance Bach. I just think others do it better. However, Gardiner is a fine conductor of Monteverdi and this recording shows it. If you are not familiar with Baroque opera and want to find out how a first rate crew of performers sound with a major work of early opera, this is a great recording with which to start!

One of the most beautiful operas of all time.......2005-09-10

This recording of Monteverdi's L'Orfeo is truly a spectacular work. I didn't really care for Baroque opera before I heard this. But now Monteverdi is my favorite operatic composer. Not only is the music beautiful but the singers are absolutely stunning. Anthony Rolfe Johnson is absolutely perfect for the title role. His soft yet clear tenor voice shows the passion and the emotion that Orfeo has for Eurydice. Lynne Dawson who sings La Musica has a good voice for introducing the opera. Anne Sofie von Otter who plays Messaggiera, has such a sorrowful and sad voice for her role which makes it all the more better. But the absolute best singer on this recording is John Tomlinson who sings Caronte or the Charon. John Tomlinson is also the voice of the Commendatore in the movie Amadeus. But his deep bass makes you wonder if its at all possible to get past him. But that's not the best part of the opera. The best part about the whole recording is the choir. All the choruses are to die for, especially the chorus "Lasicate i monti." It almost makes one want to dance. But I definitely reccommend this recording to all Baroque opera lovers, even for those who don't like opera.

My favourite recording of any Opera.......2003-08-21

Gardiner, again shows his skill with baroque vocal works. This, regarded as the first great Opera, is still one of the best. The pure singing style of the late renaissance/early Baroque is siblime and very different from Post Baroque opera writing most people are use to. The Aria 'Possente spirto' is 8 minutes of heavenly singing in Hades; here Orfeo fails to convince Charon to allow him entry to Hades, but this is one of the single most beautiful pieces of writing for voice I have ever heard.

Average customer rating:

Truly A Masterpiece!
Definitive, historical, all-in-one
Súper Colección
Walter's best
Loved It All Over Again

Switched-On Boxed Set

Manufacturer: East Side Digital
ProductGroup: Music
Binding: Audio CD

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A Clockwork Orange: Wendy Carlos's Complete Original Score
Sonic Seasonings + [Enhanced CD]
The Well-Tempered Synthesizer
Beauty in the Beast
By Request

ASIN: B00002DDS5
Release Date: 1999-10-26

Tracks:

Sinfonia to Cantata #29
Air on a G String
Two-Part Invention in F Major
Two-Part Invention in B-Flat Major
Two-Part Invention in D Minor
Jesu, Joy of Man's Desiring
Prelude and Fugue #7 in E-Flat Major
Prelude and Fugue #2 in C
Chorale Prelude "Wachet Auf" Bradenburg Concerto No. 3 in G Major
Brandenburg Concerto #3 in G: I. Allegro
Brandenburg Concerto #3 in G: II. Adagio
Brandenburg Concerto #3 in G: III. Allegro
Brandenburg Concerto #3 in G: II. Adagio
Brandenburg Concerto #3 in G: Initial Experiments

Tracks:

Orfeo Suite: Toccata/Ritornello I/Choro II/Ritornello II/Choro II/Ritor
Sonata in G Major
Sonata in D Major
Bourree
Air
Allegro Deciso
Sonata in E Major
Sonata in D Major
Bradenburg Concerto #4 in G Major: I. Allegro
Bradenburg Concerto #4 in G Major: II. Andante
Bradenburg Concerto #4 in G Major: III. Presto
Domine Ad Adjuvandum
Stereo Allignment Tones
Well-Tempered Experiments

Tracks:

Badinerie
Minuet
Bourree
Two-Part Invention in A-Minor
Two-Part Invention in a Major
Sheep May Safely Graze
Suite from Anna Magdalena Notebook: Musette in D Major
Suite from Anna Magdalena Notebook: Minuet in G Major
Suite from Anna Magdalena Notebook: Bist du Bei Mir
Suite from Anna Magdalena Notebook: Marche in D Major
Little Fugue in G Minor
Bradenburg Concerto #5 in D Major: Allegro
Bradenburg Concerto #5 in D Major: Affettuoso
Bradenburg Concerto #5 in D Major: Allegro

Tracks:

Brandenburg Concerto #1 in F Major: I. Allegro
Brandenburg Concerto #1 in F Major: II. Adagio
Brandenburg Concerto #1 in F Major: III. Allegro
Brandenburg Concerto #1 in F Major: IV. Menuuetto, Trio I, Polocca, Trio
Brandenburg Concerto #2 in F Major: I. Allegro
Brandenburg Concerto #2 in F Major: II. Andante
Brandenburg Concerto #2 in F Major: III. Allegro Assai
Brandenburg Concerto #6 in B-Flat Major: I. Allegro
Brandenburg Concerto #6 in B-Flat Major: II. Adagio Ma Non Tanto
Brandenburg Concerto #6 in B-Flat Major: III. Allegro

Amazon.com

In 1968, keyboardist-composer Wendy Carlos released Switched-On Bach, her bestselling LP featuring baroque music performed on the Moog synthesizer. Carlos intended to spread the gospel of electronic classical music through this quirky release; instead, she sold more albums than Karlheinz Stockhausen could ever dream of, released a few follow-ups, and paved the way for Hot Butter's "Popcorn." Carlos has since become well known for more than just these wacky classical interpretations--she recorded the soundtracks to A Clockwork Orange and Tron and released new works--but the Switched-Ons are the goofy synthesizer recordings that most of us still remember.

No less than Glenn Gould proclaimed, "Carlos's realization of the Fourth Brandenburg Concerto is, to put it bluntly, the finest performance of any of the Brandenburgs--live, canned, or intuited--I've ever heard." We're not sure what he meant by that, but if you have half the enthusiasm Gould did for this music, check out this box set. All four of Carlos's baroque-gone-space-age LPs from the '70s are included here--Switched-On Bach, The Well-Tempered Synthesizer, Switched-On Bach II, and Switched-On Brandenburgs--completely remastered in all their stereophonic glory and containing bonus tracks (the fourth CD is even enhanced for use on your computer). The liner notes weigh in at around 150 pages, filled with photos and background information even on the evolution of Carlos's studio (you get the original LP notes in their entirety, too). The music? It's hilarious, absolutely riveting, and--whether Scarlatti, Bach, Handel, or Monteverdi--played successfully by Carlos and her battery of special effects. For the lover of the eclectic or the classical fan who knows how to let loose, this is a box set to get. --Jason Verlinde

Customer Reviews:

Truly A Masterpiece!.......2007-05-11

This collection is a treasured addition to our music library here at home, in part because I have long been a fan of the artist. Also, because we all enjoy the spin that Wendy puts on many of the classical works of the old masters of music. I heartily recommend this boxed set to any listener who wants to be delighted by the sounds of the Moog synthesizer, played in a masterful way by Wendy Carlos...

Definitive, historical, all-in-one.......2007-03-04

If you've loved the Walter/Wendy Carlos recordings over the years, this is a great way to get them all in one place. If you are at all interested in the production process, this is a _must have_ item.

Some have complained about the discussion tracks at the end of some CDs; I guess I can see how some might find them annoying. For pure ambience, you'll want to program your CD player to not play them, or just rip these CDs and burn a new copy minus those tracks.

One minor complaint I have is that the Brandenburgs are scattered throughout. I don't think it should have been all that bad to just have some of them duplicated. But I do understand the rationale, including them as is on the albums where they appeared individually, and then only putting the rest on the actual Brandenburgs pair of CDs. Personally, I love being able to listen to all the Brandenburgs straight through, so again I just made new versions of CD for my own use with them all together in their original order.

And of course, these days so many people aren't even listening to their CDs on the CD player. The music is ripped and then played using an MP3 player, computer, or similar device. Making playlists for your preferred track arrangements obviates any of the above complaints.

Regardless, I think that the value of having an all-in-one collection of these classic electronic instruments and performances far outweighs any minor issues regarding one's opinion of the choice of production arranagement.

Súper Colección.......2007-01-03

Una joya de arte, en su estuche y con un gran contenido de los primeros volúmenes de esta gran interprete.
Simplemente una gran colección para los fanaticos de Wendy

Walter's best.......2006-06-09

I know record and CD covers have been reprinted to reflect that Walter goes by the name of Wendy now. But this is all his best stuff in one collection. If you never had "Switched-On Brandenburgs Vol. 1 & 2" on LP and didn't get them either on CD back in 1987, then this is your chance to get them along with bits from his other works. Also get his other masterpiece "By Request" and the soundtrack of the movie "A Clockwork Orange". That's all you need if you are a fan of 60's analog synthesizer classical music, which only Walter was doing at that time.

Loved It All Over Again.......2005-08-03

When I heard the first piece from the first album as a young boy, I was completely hooked. I don't think Wendy could have picked a better song to start with. The power and expansiveness of the Sinfonia is surely what Bach must have heard in his head when he wrote it over 300 years ago.

Honestly, some of the music on these albums is so good you may never hear Bach, Handel, or Scarlatti the same way again.

When I saw this boxed set for sale, I purchased it with a little trepidation, unsure if it would live up to my memory of it and not sure what my wife or daughter would make of it. I'm glad I got it, though. It's a wonderful recording and the two bonus tracks are fun to listen to. In fact, I wish CDs had the same "commentary" tracks that DVDs have as I would have enjoyed hearing more about how this recording was put together.

Average customer rating:

at once ancient and modern...
The best performance of this opera
Monteverdi's first composition
The First Great Opera

Monteverdi: L'Orfeo
Ian Bostridge , Patrizia Ciofi , Alice Coote , Natalie Dessay , Véronique Gens , Sonia Prina , Emmanuelle Haïm , Claudio Monteverdi , Carolyn Sampson , and Paul Agnew
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Purcell: Dido and Aeneas
Offenbach - Orphée aux Enfers / Dessay, Naouri, Fouchécourt, Beuron, Podles, Petibon, Smith, Gens, Cole, Minkowski
Guillaume de Machaut: Motets
Handel - Il trionfo del Tempo e del Disinganno
Purcell: The Fairy Queen

ASIN: B0001BFIMS
Release Date: 2004-04-06

Tracks:

Toccata
Ritornello
Dal Mio Permesso Amato
Ritornello
Io La Musica Son
Ritornello
Io Su Cetera D'or
Ritornello
Quinci A Dirvi D'Orfeo
Ritornello
Hor Mentre I Canti Alterno
In Questo Lieto E Fortunato Giorno
Vieni Imeneo, Deh Vieni
Muse Honor Di Parnaso
Lasciate I Monti
Ma Tu Gentil Cantor
Rosa Del Ciel
Io Non Diro Qual Sia
Lasciate I Monti
Vieni Imeneo, Deh Vieni
Ma S'il Nostro Gioir Dal Ciel Deriva
Alcun Non Sia Che Disperato In Preda
Che Poiche Nembo Rio Gravido Il Seno
E Dopo L'aspro Gel Del Verno Ignudo
Ecco Orfeo Cui Pur Dianzi
Ecco Pur Ch'a Voi Ritorno
Mira Ch'a Se N'alletta
In Questo Prato Adorno
Qui Le Napee Vezzose
Vi Ricorda O Bosch' Ombrosi
Mira, Deh Mira Orfeo
In Un Fiorito Prato
Tu Se' Morta Mia Vita
Ahi Caso Acerbo
Ma Io Ch'in Questa Lingua
Chi Ne Consola Ahi Lassi?
Ritornello

Tracks:

Sinfonia
Scorto Da Te Mio Nume
Ecco L'atra Palude Speranza
O Tu Ch'innanzi Mort' A Queste Rive
Sinfonia
Possente Spirto E Formidabil Nume
Ritornello: Violino I & II
Non Vivo Io No, Che Poi Di Vita E Priva
Ritornello: Cornetto I & II
A Lei Volt' Ho Il Camin Per L'aer Cieco
Ritornello: Arpa
Orfeo Son Io Che D'Euridice I Passi
Sol Tu Nobile Deo Puoi Darmi Aita
Ben Mi Lusinga Alquanto
Ahi Sventurato Amante
Sinfonia
Ei Dorme, E La Mia Cetra
Nulla Impresa Per Huom Si Tenta In Vano
Signor Quell'infelice
Benche Severo E Immutabil Fato
O De Gli Habitator De L'ombre Eterne
Quali Grazie Ti Rendo
Tue Soavi Parole
Pietade Oggi Et Amore
Qual Honor Di Te Fia Degno
Ma Mentre Io Canto (Ohime)
O Dolcissimi Lumi Io Pur Vi Veggio
Ahi Vista Troppo Dolce E Troppo
Dove Te'n Vai Mia Vita?
E La Virtute Un Raggio
Ritornello
Questi I Campi Di Tracia
Ma Tu Anima Mia Se Mai Ritorna
Tu Bella Fusti E Saggia
Hor L'altre Donne Son Superbe E Perfide
Sinfonia
Perch'a Lo Sdegno E Al Dolor Impreda
Padre Cortese, Al Maggior Uopo Arrivi
Troppo Troppo Gioisti
Si Non Vedro Piu Mai
Saliam Cantand' Al Cielo
Vanne Orfeo Felice A Pieno
Moresca

Amazon.com

It seems natural that of all mythological heroes, Orpheus, a singer endowed with matchless musical gifts, should appeal to so many opera composers. L'Orfeo, which premiered at the Court of Mantua in 1607, was Monteverdi's first opera. This fairly new genre sought to combine performing practices of Greek and Roman antiquity with music capable of arousing and expressing emotions through a dramatic text. Alessandro Striggio's libretto gives the story an unusual perspective: it focuses on the power of music, but also on the need for self-discipline. Orpheus, having conquered the forces of death and Hades, is undone by his inability to accept the transience of mortal joy and to control his own impulses. Thus, the opera ends differently from the myth, as well as from the more famous opera by Gluck: Apollo, Orpheus' father, appears and offers him eternal bliss in Heaven. The music is enchantingly beautiful. The vocal lines are cast in the rhetorical "speech-song" used at the time, which carries the dramatic action and expresses the emotions of the characters; however, there is much elaborate coloratura and ornamentation at crucial moments. Instrumental "ritornellos" alternate with the vocal sections in infinitely varied, imaginative combinations, and the wonderfully rich-sounding chorus, impersonating shepherds, friends and furies, adds commentary in chorale-like or contrapuntal settings. The performance is superb. In the prominent part of Orpheus, Ian Bostridge is riveting, changing and coloring his voice to express joy, hope, pleading, passion, anguish, despair; even the intricate coloratura passages add to the emotional impact. Also outstanding are Natalie Dessay, Alice Coote, Mario Luperi and Christopher Maltman. The orchestra is a crucial element, supporting the singers, sometimes with answering and echoing solo lines, setting mood and atmosphere in the instrumental sections; the brass choir passages---solemn, somber, gloriously triumphant---are especially striking. Interestingly, though the strings play without vibrato, the singers mostly use full, vibrant voice. --Edith Eisler

Customer Reviews:

at once ancient and modern..........2007-05-20

Although I am quite familiar with orchestral music of the great composers, I have never really made much time for opera. Although I am only familiar with a few great operas, I really enjoy this one which is ancient-I guess the first modern opera of all time.

Montiverdi seems to touch upon something here that is at once ancient and modern. The music is urgent and passionate and the subject matter is classic as a song of love and death.

Although I am not familiar with any of the artists, I strongly reccomend "Orfeo" by Monteverdi as a piece that, given an even chance, you may like very much.

The best performance of this opera.......2007-04-10

I own 3 other audio CD versions and 5 DVD versions of this great, great opera, and can tell you that this CD set is the best of the best. The ornamentation and timing are superb. A nice aside about this recording is that when you import it into iTunes to put onto your iPod (or listen via your computer) the 80 tracks come out sequentially numbered, despite the fact that there are 2 CDs. Having that many tracks (and they are appropriately labeled) makes it easy to jump to your favorite spots.
The tempi and inventive percussion use on this recording are other reasons to love it, besides the world-class singing, especially of Bostridge, Dessay, and the magnificent Alice Coote.

Monteverdi's first composition.......2006-02-18

Excellent service from Amazon - this arrived in time for a family get-together and the music was thoroughly enjoyed. Not excatly my cup-of-tea but the majority of those gathered thoroughly enjoyed the quality of the recording and being able to hear it in a family music group.

The First Great Opera.......2004-05-08

Claudio Monteverdi's L'Orfeo, composed in 1606, is widely considered the first great opera. As an art form, opera was created not quite 20 years earlier, in an attempt to recapture the musical and dramatic ideas of ancient Greece. Jacopo Peri had apparently initiated that great experiment with his work Euridice. Monteverdi used the same story, one that naturally lent itself to depiction with lots of singing, and created a masterpiece that has endured for four hundred years. The story is from Classical mythology; Orpheus, a gifted singer, is to marry Euridice, but before the nuptials she is killed by a snake. Orpheus descends to Hades to plead with Pluto, God of the Underworld, for her return. Moved by Orpheus's song, his love, and the entries of his own wife, Pluto agrees to allow Euridice to return on one condition. Euridice is to follow Orpheus back to the surface, but he must not look back at her, he must trust Pluto's word. Of course, doubt clouds Orpheus's intentions and when he ultimately turns, Euridice is lost to him forever. The final act provides the obligatory happy ending, in which Apollo appears and takes Orpheus with him to the Heavens.

The whole is extremely mannered, there's no attempt at naturalism in this opera. Each act primarily portrays a single emotion--joyous love in the first, despair in the second and fourth, hope in the third and again joy in the final act. Most of the action takes place offstage--in fact, there's very little action at all. The story essentially exists so that Orpheus can sing, and sing he does.

There's a fine moment in the first act, in which Orpheus sings about how sad he was before he met Euridice, who has filled his life with joy. Considering the fate soon to befall him, this is an especially ironic bit of text. In the second act, the highlight is the moment when Orpheus is told of Euridice's death, and his haunting lament, Tu se morta; Thou art perished. Monteverdi's makes fine use of word painting that is definitely worth noticing. As Orpheus sings "morte" (death) or that he will go down to Hades "N'andro sicuro a piu profondi abissi" the melodic line descends; as he sings farewell to the skies and sun, ("a dio Cielo, e sole a dio") the line rises. In the third act, I'm amused by Orpheus's song to Charon, the ferryman across the river Styx. Unable to move Charon with the depth of his entreaty, Orpheus eventually suffers the fate that far too many musicians have done--he unexpectedly sings Charon to sleep! But for Orpheus, this unanticipated lullaby is a blessing in disguise, as he takes advantage of Charon's somnolence to ferry himself across the river of the dead. I can't help suspecting that Monteverdi and his librettist shared some amusement at this plot twist.

Ian Bostridge, who overall is quite convincing, sings the role of Orpheus. Tu se morta is one of my favorite pieces of music of all time, and I have to admit that Bostridge's interpretation of that particular aria doesn't chill me. Another highlight of the third act is Euridice's lament, when Orpheus has just turned around, resulting in her eternal banishment from the world above. Originally all the women's roles would have been sung by castrati; men who had intentionally had their testicles removed before their voices changed to preserve their high range. Fortunately this practice has been abandoned and the role of Euridice is beautifully sung by Patrizia Ciofi.

For a host of reasons, and surely not primarily the lack of castrati, purists will argue about the authenticity of the entire performance; it is an admittedly emotionally expressive one, a touch Romantic in nature at times, with occasional rubatos that seem musically plausible if not historically accurate. It's a matter of some musicological debate, but for most listeners, purely academic. What really counts for most of us is whether the music captivates us. Personally I'm particularly taken not only by the melodic lines and the modal harmonies, but also by the fascinating sounds of the Renaissance instruments. L'Orfeo is the first known work in which instrumentation is specified; and it's a hugely rich variety of sounds, with violins, celli, viols, recorders, lutes, harpsichord, organ, and a very strange looking strummed instrument called a theorbo. There's more-for the act in the underworld Monteverdi employs cornetti (early trumpets, more or less) and sackbuts, precursors to the trombones. The instrumentalists do a fine rendition, although in a few odd moments the bass is uncharacteristically boomy and I'm not entirely convinced by some of the instrumental timbral choices in a few spots. Soloists and choir sing beautifully and although I've commented on the Romantic flexibility of tempo, this should not be misconstrued to mean the vocal approach is Romantic. It is not, there are no wild Verdian vibrati; pleasantly, Bostridge and his colleagues do not consider themselves Pavarotti pretenders.

Tracks:

L'Orfeo: Sinf/Ecco Pur Ch'a Voi - Cappella Musicale Di S. Petronio Di Bologna/Sergio Vartolo
Dido And Aeneas: When I Am Laid In Earth - Kym Amps
Rinaldo: Lascia Ch'io Pianga - Ingrid Kertesi
Serse: Ombra Mai Fu (Largo) - Ingrid Kertesi
Orfeo Ed Euridice: Dance Of The Blessed Spirits - Slovak State PO/Johannes Wildner
Alceste: Ombre Larve - Theresa Ringhoz/Drottningholm Theatre Chor
Don Giovanni: Madamina! (Catalogue Aria) - Andrea Martin
Cosi Fan Tutte: Soave Sia Il Vento (Terzetto) - Joanna Borowska/Rohangiz Yachmi/Peter Mikulas
The Marriage Of Figaro: Non Piu Andrai - Natale De Carolis
Die Zauberflote: Der Holle Rache (Aria Of The Queen Of The Night) - Helen Kwon/Hungarian Festival Chor
Fidelio: Abscheulicher! - Inga Nielsen/Hungarian Radio Chor
Der Freischutz: Huntsmen's Chor - Slovak Phil Chor
The Barber Of Seville: Largo Al Factotum - Roberto Servile
L'Elisir D'Amore: Una Furtiva Lagrima - Vincenzo La Scola
I Puritani: Qui La Voce Sua Soave - Luba Orgonasova
La Traviata: Un Di Felice (Love Duet) - Monika Krause/Yordy Ramiro
Nabucco: Va Pensiero (Chor Of The Hebrew Slaves) - Slovak Phil Chor (Bratislava)
Aida: Grand March - Nat SO Of Ireland/Rico Saccani
Falstaff: E Sogno? O Realita - Roberto Servile

Tracks:

Rigoletto: La Donna E Mobile - Yordy Ramiro/Slovak Phil Chor
Die Walkure: Ride Of The Valkyries - Czecho-Slovak RSO/Uwe Mund
Tannhauser: Begluckt Darf Nun Dich (Pilgrims' Chor) - Slovak Phil Chor
La Wally: Ebben, Ne Andro Lontana - Miriam Gauci
Rusalka: O, Silver Moon (Song To The Moon) - Jana Valaskova
Gianni Schicchi: O Mio Babbino Caro - Luba Orgonasova
La Boheme: Che Gelida Manina - Jonathan Welch
Madama Butterfly: Un Bel Di Vedremo - Miriam Gauci
Tosca: E Lucevan Le Stelle - Giorgio Lamberti
Turandot: Nessun Dorma - Thomas Harper/Slovak Phil Chor
Lakme: Dome Epais (Flower Duet) - Adriana Kohutkova/Denisa Slepkovska
Thais: Meditation - Janos Selmeczi
Carmen: L'Amour Est Un Oiseau Rebelle (Habanera) - Graciela Alperyn/Slovak Phil Chor/Bratislava Children's Chor
The Pearl Fishers: Au Fond Du Temple Saint (Duet) - Janez Lotric/Igor Morozov
Pagliacci: Recitar!... Vesti La Giubba - Nicola Matinucci/Slovak Phil Chor
Cavalleria Rusticana: Intermezzo - Czecho-Slovak RSO/Alexander Rahbari
Andrea Chenier: Come Un Bel Di Di Maggio - Thomas Harper
King Roger: Roxana's Aria - Barbara Zagorzanka
Die Tote Stadt: Gluck, Das Mir Verblieb (Marietta's Lied) - Katarina Dalayman/Thomas Sunnegardh/Tomtberga School Children's Chor/Royal Swedish Opr Chor

Album Description

A-Z of Opera is a 762-page, illustrated book, accompanied by two-and-a-half hours of opera's most glorious and moving moments on two CDs, and reflects the ever-growing Naxos catalog of recordings ranging from Monteverdi to the contemporary. A-Z of Opera provides a wide range of information on operas and their composers, from Handel's Rinaldo to Mozart's Die Zauberflote, and beyond. It features plot synopses, background details and cast lists for hundreds of operas including well-known standards as well as opera rarities. In addition, there is a wealth of information about all the great composers and a glossary of key musical and operatic terms.

Customer Reviews:

AN OPERA OPUS THAT'S A MUST!.......2003-01-19

Oh, such letter-perfect perfection! This marvel features a two-hour-plus showcase of well-known arias from "Cosi Fan Tuti," "Aida," "Carmen," "Madame Butterfly" and "The Barber of Seville." It also comes with a book --- 762 pages of remarkable facts, figures and illustrations.Encore!

The Best.......2002-06-09

This is, by far, the best introduction to opera on the market. It also contains some gem performances for anyone who already has a serious opera collection. Several tracks on this collection of mostly Eastern European singers rival those of their Western counterparts. This is a collection for EVERYONE - from the opera novice to the person who has long collected all the major Western stars. At this price, it's the best opera bargain in the world. GET IT NOW!!! Thank you, Naxos! I hope that some of these Eastern European singers at last get the attention they deserve.

Superb Modestly Priced Favorite Arias Collection!!!.......2001-02-12

I received this as my 20th birthday gift from my bestfriend and I was amazed at the quality and the content of this CD. Some of the arias which I am immensely fond of are included, i.e. "Habanera" from Bizet's "Carmen." And who would have guessed that the soprano on track 10 performing Queen of the Night's Aria from Mozart's "Die Zauberflote" was none other than Hellen Kwon? Amazing!

I really love this gift from my bestfriend for it was thoughtful and well, what can I say that this makes an excellant gift for opera neophytes (though I am not an opera neophyte).

The highlight of this CD is track 13, Rossini's "Largo al Factotum" from "The Barber of Seville." When I first heard this, I was contemplating to myself as to where have I heard this before. Then it hit me: Michigan J. Frog's signature tune! (In case people are wondering who on earth is Michigan J. Frog is, he is the Warner Brother's frog; the frog can be seen on WB network channel). I love this track! Buy this for yourself if not this makes a perfect gift for your opera neophyte friend(s)! This track brings joy and smiles on my face everytime I hear this piece!

Wonderful introduction to opera.......2000-12-16

More than just a promotional sampler, the Naxos (8.555037-38) contains not only 2 CDs crammed with 39 excerpts from that company's seemingly bottomless catalogue, but also a 762 page book. The text offers plot summaries of almost every important opera and many of far lesser renown (Delius' "The Magic Fountain," Mascagni's "Iris," for example), a brief biography of the composers, a glossary, and finally a discography. The recorded examples are in chronological order from Monteverdi to Korngold. The entries in the book, however, are in alphabetical order--so be careful to look for "Zauberflote," not "Magic Flute," and so on.

Of course, Big Names do not appear on many Naxos opera sets; but this set is an introduction to that vast area of culture and is meant to be an educational (and of course a promotional ) device. Nevertheless, many of the selections on the CDs are beautifully sung, a very few lack characterization (the arias from"Don Giovanni" and "Nozze di Figaro" for two). But at this incredibly low budget price, who can complain?

As soon as I saw what this set had to offer, I immediately ordered a copy as a seasonal gift for a friend who wants to "get into" opera. I could think of no better gift.

Tracks:

Galliard III Based on "La Mantoana"
Galliard
Non Ha'l Ciel Cotanti Lumi - David Douglass, Ellen Hargis, Andrew Lawrence-King
Qual Cadavero Spirante - David Douglass, Ellen Hargis, Andrew Lawrence-King
Pavane II
Se Pur Ver
Dances from il Scolaro:Aria del Gran Duca
Dances from il Scolaro:Gagliarda Di Santino Detto la Muzza
Dances from il Scolaro:la Bergamesca
Dances from il Scolaro: Basso Delle Ninfe
Dances from il Scolaro: Bassa Gioiosa
Dances from il Scolaro: Il Ceferino
Gagliarda Falsa
Lagrime d'Erminia - David Douglass, Ellen Hargis, Andrew Lawrence-King
Sonatae Concertate, Book 2:Sonata XVI a 4
O Durezza Di Ferro - David Douglass, Ellen Hargis, Andrew Lawrence-King
Galliard
DSoletto
Galliard I, Known as "The Gallant One"
Consonanze Stravaganti

Customer Reviews:

Thoroughly enjoyable.......2005-01-28

I have listened to this CD a great deal and I love it. I just want to answer vvic's point below: it's true that not all the tracks on this disc are rumbustious romps, but Renaissance dance had many different forms, genres and functions. It was an important means of personal expression and social interaction - you only need to think of the formal and ritualised minefield that surrounded love and courtship (especially in the higher strata of society) to be able to see dance's potency as an emotional outlet. In fact, dancing quickly was the one thing that would have been difficult because costume was often bulky and ungainly, especially for ladies.

So give these performances a chance, because this disc is bursting with life and musicianship: The King's Noyse play like a group of old friends together; Andrew Lawrence-King's harp playing is enchanting, and Ellen Hargis produces richly nuanced, beautifully coloured and poignant performances of the laments. The whole mixture is delighful.

It's also superbly engineered: the sound is detailed, rich, vibrant and delicate. (It's set in a fairly warm acoustic, which may partly account for vvic's feeling of 'churchiness'.) A pity there are no sound samples here on Amazon.

I presume this is a re-release of an earlier disc. The budget savings come from corners cut in packaging - the booklet is fairly perfunctory, but as my Dad says, 'you pays your money. you takes your choice'!

ps. I'm a really terrible dancer!

Disappointed.......2003-05-04

I am a big fan of renaissance instrumental music, and since these are dances, I was expecting some pleasant, spirited melodies, like on the excellent English Country Dances. Although there are several tracks like this on this CD, many are slow and dirgy. These, combined with the tracks with soprano vocals, make one feel as if they were in church, which is not a bad thing, if that's what you're looking for.

Gratzi for the Italian Renaissance.......2002-03-24

The sounds of the Italian Renaissance are very uplifting, beautiful and rational. The songs have structure and melody and flow very naturally. This collection is a pleasing variety of instrumental and vocal music with period instruments and authentic arrangements. The performances and sound quality are extremely good.

I don't know if I should feel guilty for having spent so little on this CD or irritated that more CDs of this quality are not available at this price. The other releases I have heard from the Classical Express label have been as good. (e.g. Mozart Horn Concertos, French Love Songs)

refreshing, sprightly and fun.......2001-07-12

THis is a sprightly and thoroughly well performed arrangement of Renaisaaance music. If you think there is no place for such period music think again. I snuck this on while entertaining and everyone began complimenting it. They loved the joyful upbeat quality it posseses and as I, were delighted with the quality of musicianship and recording. Give that next dinner party a historical twist or just give yourself this wonderful CD

Early Music Festival / David Munrow, Early Music Consort

Average customer rating:

Ahh, Florence!!
Best Italian Renaissance disc available.
Munrow is magnificent
boccacio would be proud

Early Music Festival / David Munrow, Early Music Consort
Antonio Zaccara da Teramo , Giovanni Da Firenze , Lorenzo da Firenze , Jacopo da Bologna , Claudio Monteverdi , Luca Marenzio , Cristofano Malvezzi , Emilio de' Cavalieri , Costanzo Festa , Bartolomeo Tromboncino , Giovanni Domenico del Giovane da Nola , Marchetto Cara , David Munrow , John Beckett , James Bowman , Nigel Rogers , Martin Hill , John Frost , Janita Noorman , and Grayston Burgess
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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Solo Instrumental | New Age | Styles | Music

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ASIN: B000009DFX
Release Date: 1998-07-14

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Ecca la primavera
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Quan ye voy le duc
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La Manfredina
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Chon bracchi assai
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Da, da, a chi avaregia
Fenice fu' e vissi
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Music For Ferdinando de' Medici: Toccata ('Orfeo')
Secondo intermedio: Sinfonia
Secondo intermedio: Belle ne fe' natura
Secondo intermedio: Chi dal delfino
Secondo intermedio: Se nelle voci nostre
Secondo intermedio: O figlie di Piero
Sesto intermedio: Dal vago e bel sereno
Sesto intermedio: O qual risplende nube
Sesto intermedio: Godi turba mortal
Sesto intermedio: O fortunato giorno
Sesto intermedio: O che nuovo miracolo
Quando ritrova
Allemana-ripresa: Quando ritrova
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Tri ciechi siamo
Io non compro
Ahime sospiri
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Orsu, orsu, car' Signori
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Dance Songs: Era di Maggio
Dance Songs: El marchese di Salluzzo
Dance Songs: In questo ballo
Dance Songs: Noi ci vogliam' partire
Dance Songs: Bussa la porta
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Customer Reviews:

Ahh, Florence!!.......2002-10-14

Italian culture during the period from the 14th to the 16th centuries was a whirlwind of developing literature and art, and during this period of history Florence was a political and cultural center to rival Milan or Verona.
I love medieval and renaissance music. They are the "roots" of the great classics centuries later. One does not cultivate a complete education of art by studying only such Masters as Van Gogh, Renoir, Picasso, Dali etc. So it is with fine music.
These CD's contain examples of Florentine musical composition from the 1300's and 1500's. The first CD, performed by David Munrow and the Early Music Consort, covers compositions from the 1300's, with many of the works of Francesco Landini, the most prolific Florentine composer of this period. The second covers music from the 1500's and is performed by John Beckett and the Musica Reservata. Here we can see the early development of both symphonic structure and opera.
Both discs are wonderful examples of different periods in the history of musical development, and performed by different conductors and artists. Therefore a comparison between the two is unfair and misplaced. David Munrow and the Early Music Consort are superb, as I have always found them to be, and John Beckett and the Musica Reservata are equally enjoyable.
If you appreciate early music you will find this recording to be a fantastic addition to your collection, and perhaps the definitive collection of early Italian music. If you are unfamiliar with early music or with Italian Renaissance music then these CD's would be a wonderful introduction.

Best Italian Renaissance disc available........2002-06-28

This re-issue of recordings from the early 70's by the Early Music Consort Of London is,in my opinion,the best recordings of Italian Renaissance works.It is the favorite of my eary music discs,and includes music treasures from 14th and 16th century Florence. Great listening on both discs,and worth the money!

Munrow is magnificent.......2001-11-20

The first disc in this collection is delightful. David Munrow's recorder is a genuine treat. The vocal parts blend well and create a festive atmosphere. The Early Music Consort of London offer a splendid performance. By contrast, the second disc, which features Musica Reservata, is a bit disappointing. Two of the solo voices on disc two are harsh, detracting from an otherwise pleasant recording. They may fairly represent the performing style of sixteenth century Florence, but that is small consolation for the twentieth century ear. Nonetheless, the virtues of the first disc are sufficient to warrant purchasing this collection. Munrow is magnificent.

boccacio would be proud.......2000-04-23

this is a superb recording of early music it is well performed and played. the first cd is all music from the 1300,s and the second is from the 1500,s if you like the kind of music this is the cd to get well worth it.

Average customer rating:

A little too much and poor sound quality
And now, honored ladies and gentlemen, may we present...!

Imperial Fanfares

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Duets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Fanfare, British Music for Symphonic Brass Ensemble
Music from the Royal Court
Ceremonial Music for Trumpet & Symphonic Organ
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ASIN: B00008MLVK
Release Date: 2003-07-15

Tracks:

Imperial Fanfare
Royal Entry
Ceremonial Procession
Heroic Procession
Festive Procession
Elector's Procession
Elector's Procession
Majestic Procession
Priere Du Matin
Intrada
Largo - Allegretto
Intrada
Festive Overture
Toccata (Prelude To Orfeo)
Courante For The Entry Of His Imperial Majesty And All The Cavalry
Follia For New Entry Of The Sprinter And Other Equestrian Manoeuvres
Sarabande For The End Of The Ballet
Trumpet Duet
Intrada For The Trombet Und Musicalischen Tafeldienst
Menuet (Trumpet Duet No. 82)
Trumpet Duet No. 8
1812 Overture, Op. 49
Festive Table Music No. 1
Festive Table Music No. 2
Procession At The Imperial Court
Procession No. 3
Festive Procession: The Entry Of The Emperor, 1631
Intrada From Bruck An Der Mur
Procession No. 4
Procession No. 1
Procession (Brilliant, Bright)
Marche Des Nations De Flore
2e Air Du Combat De Lance D?Amadis
La Descente De Mars
La Marche Italienne
Prelude Des Divertissements
Chaconne Du Palais Royal
Menuet Royal
Marche Pour Les Trompettes Seules
Bruit De Trompettes
L?Etendard
Fanfare A Deux Trompettes
Bruit De Guerre
Allemande
Molto Moderato
Signature Tune Of The Old Town Of Bratislava
Fanfara 1
Fanfara 2
Marcia Per La Cavalleria, No. 1
Entree Fanfare
Modern Fanfare
Signature Fanfare
Convention
Fanfare Solo I
Fanfare Solo II
Fanfare Solo III
Fanfare Solo IV
Fanfare Solo V
Fanfare Solo VI
Opening Fanfare
New Palace Fanfare
Welcome Fanfare
Excitement
Short and Concise
Short Fanfare No. 1
Short Fanfare No. 2
Short Fanfare No. 3
Short Fanfare No. 4
Flourish
Il Giorno Del Silenzio
Fanfare For Solo Trumpet And Drum - V
Fanfare For Solo Trumpet And Drum - II
Wrapped In Mystery
Marcia Maestoso
Imperial Procession In Vienna
Procession No. 8: Allegretto

Customer Reviews:

A little too much and poor sound quality.......2006-11-10

Even though this was recorded just a couple of years ago the sound quality is not that good. It sounds like it was recorded in the 70s and outside with the microphones far away. There is nothing too deep here and all the fanfares are fairly short, just lasting a few seconds it seems. I got tired of this pretty quickly and it doesn't stand up to repeated listenings and to be honest a lot of the stuff on here sounds the same. The performances are ok, but nothing special, they sound kind of flat, and they don't really do anything to make this sound exciting like it should. Maybe if the performance and sound was better I would of enjoyed this more.

And now, honored ladies and gentlemen, may we present...!.......2003-07-17

This is what you'd have to call a specialty CD. It consists entirely of fanfares--nothing but fanfares--some of them as short as 10 seconds long. An interesting idea for a CD, perhaps, but I would guess it is primarily for directors of costume dramas, period pieces, and ceremonies of various sorts.

There are 76 fanfares on the disc covering composers ranging from Monteverdi to a trio of modern composers, all of the latter associated with the CD itself. They are played by an outfit called 'The Art of the Trumpet,' a coalescence of 24 Austrian trumpeters and a couple of timpanists (and on occasion a single trombone). Some of the fanfares use the whole group, there are others for solo trumpet, and for all combinations in between. They are led by a trumpeter from Vienna named Leonhard Leeb who is not only one of the trumpeters but also one of the composers--the other two modern composers are Leon Bolten and Joel Modart (I almost typed 'Mozart' but no!...).

Other composers include Salieri, Lully, Biber, J.H. Schmelzer, Pezel (often spelled Petzel here in America), Philidor (yes, the chess master of that name), Marc-Antoine Charpentier, and the multi-talented A. Nony Mous.

The performances are appropriately stirring, ceremonial, attention-grabbing, even mournful (one, Bolten's 'Wrapped in Mystery,' was dedicated to the victims of the World Trade Center tragedy of September 11, 2001). I would strongly suggest you not listen to the whole CD at one sitting--actually, it's hard to imagine anyone would--because too much B flat can fry your brain unless you yourself are a brass player or bagpiper.

For what it is, though, this CD is excellent.

Tracks:

L'Orfeo: Toccata
L'Orfeo: Ritornello ... Dal mio Permesso amato a voi ne vengo (Orchestra - La Musica)
L'Orfeo: Act 1: In questo lieto (Pastore 1)
L'Orfeo: Act 1: Vieni Imeneo, deh vieni ... Muse, honor di Parnaso (Coro - Ninfa)
L'Orfeo: Act 1: Lasciate i monti ... Ma tu, gentil cantor (Coro - Pastore II)
L'Orfeo: Act 1: Rosa del ciel ... lo non diro (Orfeo - Euridice)
L'Orfeo: Act 1: Lasciate i monti
L'Orfeo: Act 1: Vieni, Imeneo (Coro)
L'Orfeo: Act 1: Ma s'il nostro gioir (Pastore 1)
L'Orfeo: Act 1: Alcun non sia(Pastori I, III)
L'Orfeo: Act 1: Che poi che nembo (Ninfa - Pastori II, IV)
L'Orfeo: Act 1: E dopo l'aspro (Pastori - Coro)
L'Orfeo: Act 2: Sinfonia ... Ecco pur ch'a voi ritorno (Orchestra - Orfeo - Pastori I, III - Coro)
L'Orfeo: Act 2: Mira, deh mira (Pastore I - Messaggiera - Pastori II, III - Orfeo)
L'Orfeo: Act 2: Tu sei morta (Orfeo)
L'Orfeo: