Monteverdi: Il Ritorno D'Ulisse in Patria

Editorial Reviews
Amazon.com essential recording
Monteverdi's late operas The Return of Ulysses and The Coronation of Poppea are surprisingly unlike the more familiar L'Orfeo. The last, written for the Mantuan court, is really more lavish pageant (with appropriately lavish orchestra) than serious drama; Ulysses and Poppea, written for commercial Venetian opera houses, have librettos of real literary and dramatic merit--and (according to surviving manuscripts) no instruments other than basso continuo. (The typical Venetian "pit orchestra" of the 1640s had only bass viol and a few harpsichords and lutes, with perhaps two violins playing semi-improvised parts.) Most modern conductors reviving Ulysses and Poppea have felt the need to add instrumental parts--to make the operas, in effect, more like L'Orfeo. René Jacobs is no exception: not only has he imported instrumental interludes from other Monteverdi works, he has composed extensive parts for cornetts, violins, and recorders to accompany the singers and assigned one tenor role (Telemachus) to a soprano. Jacobs's booklet notes are admirably frank about his having done all this basically because he likes it that way. This sort of thing would not be tolerated with, say, Otello or Parsifal, but never mind--the results may not be pure(-ist) Monteverdi, but they're effective, even exciting, on their own terms. In the title role, tenor Christoph Prégardien is believably heroic, yet totally comfortable with Monteverdian style; his Penelope, contralto Bernarda Fink, has (as do several other members of the cast) a legato vocal technique and a vibrato that would sound more at home in Mozart--yet she never overwhelms the music and acts her part with real commitment. Other standouts in the cast include Guy de Mey as the gluttonous Irus and, as the goddess Minerva, "La Divina" Lorraine Hunt. This recording grew directly out of a staged production--and it shows: whatever its conceptual flaws, this is the most dramatically compelling recording of a Monteverdi opera I've ever encountered. --Matthew Westphal --This text refers to an out of print or unavailable edition of this title.

Monteverdi: Il Ritorno D'Ulisse in Patria, Music, Claudio Monteverdi, Rene Jacobs, Concerto Vocale, Bernarda Fink, Christina Hogman, Christoph Pregardien, Claron McFadden, David Evan Thomas, David Thomas [bass], Dominique Visse, Elisabeth Scholl, Faridah Schafer-Subrata, Faridah Subrata, Francesca Congiu, Guy de Mey, Jocelyne Taillon, Jörg Dürmüller, Lorraine Hunt, Lorraine Hunt Lieberson, Mark Tucker, Martina Bovet, Michael Schopper, Olivier Lallouette, Classical, Classical Music, Italian Baroque Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta

Monteverdi: Il ritorno d'Ulisse in patria (Box Set)
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Monteverdi: Il ritorno d'Ulisse in patria (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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Monteverdi: L'incoronazione di Poppea [Box Set]

ASIN: B000LP4OTW
Release Date: 2007-02-27

Tracks:

Mortal Cosa Son Io
Di Misera Regina
Duri E Penosi
Superbo E L'uom; In Questo Basso Mondo
Dormo Ancora O Son Desto?-Scena 7
Cara E Lieta Gioventu; Tu D'Aretusa Al Fonte

Tracks:

Donate Un Giorno Oh Dei
Come, Oh Come Mal Si Salva; Pastor D'armenti Puo; Ulisse Generoso
Lieto Cammino/Che Veggio Ohime
Eurimaco, La Donna Insomma
Sono L'Altre Regine; Apportator D'Alte Novelle
Compagni Udiste
Perir Non Puo'
Io Vidi
Del Mio Lungo Viaggio

Tracks:

Sempre Villano Eumete
Generosa Regina
Ecco L'Arco D'Ulisse
O Dolor, O Martir
E Quai Nuovi Rumori
Forza D'occulto Affetto; E' Saggio Eumete
Fiamma E L'Ira
Gran Giove, Alma De' Dei
Ericlea Che Vuoi Far?
Ogni Vostra Ragion; O Delle Mie Fatiche

Average customer rating:

Exceptional recording - full marks to all concerned
Luminous, radiant and colourful !!!
bad taste
Il Gardino Armonico Viaggio Musicale

Viaggio Musicale

Manufacturer: Elektra / Wea
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
ASIN: B00004Y31C
Release Date: 2001-01-02

Amazon.com

Baroque ensemble Il Giardino Armonico take a step away from Bach, Biber, and Vivaldi to create this intriguing disc of lesser-heard 17th century compositions from Italy. These short instrumental pieces--Dario Castello's Sonata IV is the longest, at over seven minutes, while Monteverdi's Sinfonia de Il ritorno d'Ulisse in Patria clocks in at under a minute--were all composed during the era of Monteverdi's operatic output, and they each seem to mimic the drama and intonation of the human voice. But the young ensemble's creative programming doesn't stop in the selection of compositions. This disc seamlessly melds Tarquino Merula's multilayered Ciaccona to a harpsichord improvisation (there are also wonderful improvisations for solo lute and violin scattered about the disc). From the jazzy opening of Uccellini's weird Aria sopra "la Bergamasca" for flute, cello, harp, and citerone to the slow-paced melancholy of Giovanni Battista Riccio's Sonata a 4, there's a treasure trove of great Baroque music here. These left-field works sound completely fresh and vibrant, a testament both to the composers and the sprightly playing of Il Giardino Armonico. Highly recommended. --Jason Verlinde

Customer Reviews:

Exceptional recording - full marks to all concerned.......2003-08-11

Do not listen to any unfavourable reviews of this album - it is simply one of the best of its kind.
The violin, recorder, cornett, mute cornett, dulcian,lute, harpsichord and cello playing is first rate, imaginative and daring. All of the music on this recording is wonderfully alive and vibrant. The violin playing is particularly good and the two mute cornetts and dulcians in the Riccio Sonata A 4 make soft and sensual sounds - unlike anything you'll ever hear from later Baroque music.

Every lover of Early Baroque instrumental music should investigate this fabulous disc.

Luminous, radiant and colourful !!!.......2003-07-20

I can't understand the one star critic made by "a music fan from Italy". He said and I quote : " Every piece of music can become banal in the hands of "Il giardino armonico".

I am surely dreaming.

All the recording by this little ensemble are far away from banality. Sometimes deranging and extravagant, they gave to the listener real pleasure because they are playing without any formal constraint. The contrast and the diversity that whe can heared in their recording is the main mark identification of their ORIGINALITY.

Enrico Onofri is brilliant as usual on the violin. All the musicians plays with vigour.

Of couse, this is quiet music. Don't wait for little tornado like it was the case in the "Seasons" or in "La Notte". This is almost charming music with some moments of great intensity.

I owned already most of the music recorded there with "La sonatori de la Gioisa Marca"( two albums on Divox Antiqua- with bad sound- sold at high prices with a lot of rewards from the press...)

Nevertheless, I prefer this recording. Sound is suberb and the music is played by very talentuous musicians. From my heart, 5 stars.

bad taste.......2003-02-10

Every piece of music can become banal in the hands of "Il giardino armonico". We already know all the cheap tricks that made this group famous: sudden dynamics changes, bizarre rhythmical choices & tempos, and ugly sounds in search of an improbable Italian early baroque authenticity. I would like to point out here the very poor conception of phrasing shown by the violin and recorder, very short phrases without any idea of the piece as a whole, with a particular attention given to frequents distasteful effects, as for example in the Cima sonata (recorder and BC), where every cadence resolution is preceded by a disturbing interruption (ups, I got there too early), and in the unnecessary display of aimless virtuosity in Rognoni's variation of "vestiva I colli", knowing well the piece I have to point out I'm deeply conviced that the tempo should be slower and the overal caracter very melancolic. The violin playing is particularly weak, from a sound production point of view, please notice the trembling pianissimos, and the lack of colors in the sound itself and constant interruption of the melodic line (ups the jumping bow its alive!) . A high peak of poor taste in cd is Ucellini's La Bergamasca, where once again we are just abused with this kind of annoying cartoon music. The only good things I can say about the cd are about the fine playing of the cornettos (Jean Tubèry,Gebhard David), dulcian (alberto Guerra), and viola da gamba (Vittorio Ghielmi), so bad that the main part of the group (recorder,violin, lute) didn't listen to them, may be they would had learn something.

Il Gardino Armonico Viaggio Musicale.......2001-01-20

Magnificent, the arrangement and interpretation! Italy and the 'Seicento' is arising. I recommend it for times with a glimpse of happiness.

Monteverdi: Musica Sacra; Le Passioni dell'Anima

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Monteverdi: Musica Sacra; Le Passioni dell'Anima

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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

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ASIN: B000067FFU
Release Date: 2002-10-08

Monteverdi: Il Ritorno D'Ulisse in Patria

Average customer rating:

Stunning Spectacular Realization of one of Opera's Monuments
Best of the three
Who you callin' Fink?
missing the leppard, von stade, stilwell performance
Excellent

Monteverdi: Il Ritorno D'Ulisse in Patria

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music

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Monteverdi - L'incoronazione di Poppea / McNair, von Otter, Hanchard, Chance; Gardiner
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Monteverdi - L'Orfeo / Rolfe Johnson, Dawson, von Otter, Argenta, M. Nichols, Tomlinson, Chance, Baird; Gardiner
Peter Lieberson: Neruda Songs
Mozart: Idomeneo, Re di Creta (KV 366)

ASIN: B000027OB0
Release Date: 1993-11-05

Tracks:

Sinf - Con Vocale/Rene Jacobs
Prologo - Dominique Visse/Michael Schopper/Lorraine Hunt/Martina Bovet
Atto Primo, Scena I: 'Di Misera Regina' - Bernarda Fink/Jocelyne Taillon
Atto Primo, Scena II: 'Duri E Penosi' - Faridah Subrata/Jorg Durmuller
Atto Primo, Scena III: 'Fermino I Sibili' - Christina Hogman/Martina Bovet/Elisabeth Scholl
Atto Primo, Scena IV/V - Michael Schopper/Olivier Lallouette
Atto Primo, Scena VI: 'In Questo Basso Mondo' - Chor Of Phaeacians/Michael Schopper
Atto Primo, Scena VII: 'Dormo Ancora O Son Desto?' - Christoph Pregardien
Atto Primo, Scena VIII: 'Cara E Lieta Gioventu'/Scena IX - Lorraine Hunt/Christoph Pregardien/Francesca Congiu

Tracks:

Atto Secondo, Scena I: 'Donate Un Giorno' - Faridah Subrata/Bernarda Fink
Atto Secondo, Scena II: 'Oh, Come Mal Si Salva' - Martyn Hill
Atto Secondo, Scena III: 'Pastor D'armenti Puo' - Martyn Hill
Atto Secondo, Scena IV: 'Ulisse Generoso' - Martyn Hill/Christoph Pregardien
Atto Secondo, Scena V: 'Lieto, Lieto Cammino'/VI - Christina Hogman/Lorraine Hunt/Martyn Hill/Christoph Pregardien
Atto Secondo, Scena VI: 'Vanne Pur Tu Veloce'/Scena VII - Christina Hogman/Christoph Pregardien
Atto Terzo, Scena I: 'Eurimaco, La Donna Insomna'/Scena II - Faridah Subrata/Jorg Durmuller/David Thomas/Mark Tucker/Dominique Visse/Bernarda Fink
Atto Terzo, Scena II: 'Sono L'altre Regine' - David Thomas
Atto Terzo, Scena III: 'Dame In Amor' (Ballo)/Scena IV - Dominique Visse/Mark Tucker/David Thomas/Martyn Hill/Bernarda Fink
Atto Terzo, Scena V: 'Compagni, Udiste' - Mark Tucker/Dominique Visse/Jorg Durmuller/David Thomas
Atto Terzo, Scena VI: 'Perir Non Puo'/Scena VII - Christoph Pregardien/Lorraine Hunt/Martyn Hill

Tracks:

Atto Quatro, Scena I: 'Del Mio Lungo' - Christina Hogman/Bernarda Fink
Atto Quatro, Scena II: 'Sempre, Villano'/Scena III - Martyn Hill/Guy De Mey/Christoph Pregardien/Bernarda Fink/David Thomas/Dominique Visse...
Atto Quatro, Scena III: 'Generosa Regina' - Dominique Visse
Atto Quatro, Scena III: 'Ecco L'arco D'Ulisse' - Bernarda Fink
Atto Quatro, Scena III: 'Son Vani, Oscuri Pregi' - Bernarda Fink
Atto Quinto, Scena I: 'Oh Dolor, Oh Martir Che L'alma Attrista' - Guy De Mey
Atto Quinto, Scena III: 'E Quai Nuovi Rumori'/Scena IV/Scena V - Con Vocale/Rene Jacobs/Bernarda Fink/Faridah Subrata/Martyn Hill/Christina Hogman
Atto Quinto, Scena VI: 'Fiamma E L'ira' - Lorraine Hunt/Claron McFadden
Atto Quinto, Scena VII: 'Gran Giove' - Olivier Lallouette/Michael Schopper/Lorraine Hunt/Celesital Chor/Chor Of Tritons/Claron McFadden
Atto Quinto, Scena VIII: 'Ericlea, Che Vuoi Far?' - Jocelyne Taillon
Atto Quinto, Scena IX: 'Ogni Vostra Ragion'/Scena X - Christina Hogman/Martyn Hill/Jocelyne Taillon/Bernarda Fink/Christoph Pregardien
Atto Quinto, Scena X: 'Illustratevi, O Cieli' - Bernarda Fink

Amazon.com essential recording

Monteverdi's late operas The Return of Ulysses and The Coronation of Poppea are surprisingly unlike the more familiar L'Orfeo. The last, written for the Mantuan court, is really more lavish pageant (with appropriately lavish orchestra) than serious drama; Ulysses and Poppea, written for commercial Venetian opera houses, have librettos of real literary and dramatic merit--and (according to surviving manuscripts) no instruments other than basso continuo. (The typical Venetian "pit orchestra" of the 1640s had only bass viol and a few harpsichords and lutes, with perhaps two violins playing semi-improvised parts.) Most modern conductors reviving Ulysses and Poppea have felt the need to add instrumental parts--to make the operas, in effect, more like L'Orfeo. René Jacobs is no exception: not only has he imported instrumental interludes from other Monteverdi works, he has composed extensive parts for cornetts, violins, and recorders to accompany the singers and assigned one tenor role (Telemachus) to a soprano. Jacobs's booklet notes are admirably frank about his having done all this basically because he likes it that way. This sort of thing would not be tolerated with, say, Otello or Parsifal, but never mind--the results may not be pure(-ist) Monteverdi, but they're effective, even exciting, on their own terms. In the title role, tenor Christoph Prégardien is believably heroic, yet totally comfortable with Monteverdian style; his Penelope, contralto Bernarda Fink, has (as do several other members of the cast) a legato vocal technique and a vibrato that would sound more at home in Mozart--yet she never overwhelms the music and acts her part with real commitment. Other standouts in the cast include Guy de Mey as the gluttonous Irus and, as the goddess Minerva, "La Divina" Lorraine Hunt. This recording grew directly out of a staged production--and it shows: whatever its conceptual flaws, this is the most dramatically compelling recording of a Monteverdi opera I've ever encountered. --Matthew Westphal

Customer Reviews:

Stunning Spectacular Realization of one of Opera's Monuments.......2003-03-14

I simply cannot fault this performance and recommend it for every well-assembled opera collection. To get the matter of authenticity out of the way ... I'm no expert but I understand that the transmitted score is barely more than a basso continuo and melody line. How to "interpret" that in performance is a matter of both scholarship and artistry. Jacobs's approach is quite rich--fleshing out the strings and keyboard with winds, lutes, and percussion--and he goes into a defense of it in the liner notes. To me, the result speaks for itself. All embellishment is to brilliant and revelatory effect, and sounds completely authentic, not artificially updated. I believe he uses harpsichord for the scenes among mortals and organ for scenes with deities.

The first strains of the opening sinfonia speak the music of immortality. Although I like when Human Frailty is sung by the Ulisse, the conceit is more impressive on stage. It's more typical to use a countertenor, and Dominique Visse sounds the right note here. Pacing and performance throughout the prologue are well-judged, and the concluding trio with Amor, Tempo, and Fortuna is satisfying.

Monteverdi's laments are usually the centerpiece of the work, but here he daringly begins with Penelope's extended monologue right at the opening of Act I. It is a masterpiece of declamatory writing on a level with the "Ritorno Vincitor" of Verdi's Aida. Bernarda Fink is searing in her disconsolation, it is a genuine and riveting tour de force.

And the rest of the performance manages to live up to the strength of its start. Everything is perfectly captured ... the glacial sinfonia that depicts the Phaeacians' ship turning to stone, the madrigalesque chatterings of the Proci (suitors), and especially the virile and energetic Ulisse of Christoph Prégardien.

One of the beauties of this opera is that the libretto is well-crafted, dramatically sound, and nobly poetic. It is much more than a peg on which to hang the music.

I urge lovers of opera, the human voice, and the human spirit to take up this CD. The story itself is timeless, its retelling by the librettist Bodoaro vivid and touching, Monteverdi's music supreme, and Jacobs's realization of it a worthy vehicle of all these qualities.

Best of the three.......2001-08-25

Of the three surviving operas by Monteverdi,I wonder why Ulisee is not the preferred for purposes of the occasional production (a few times a year in various USA opera houses) that Monteverdi receives. Compared to his "Orfeo" and "Coronation", the melodic content is higher in Ulisee, as is the mix of characters and Rene Jacobs' orchestration. Much richer and complex in every way than than than the Orfeo theme. I even have come to prefer it even to the psychologically subtle but still restrained "Coronation". Contains the widest palette of Baroque opera techniques. This is an excellent recording with superior notes,sound recording and performers. A great example of the earliest Opera that will still sound like Opera to those raised on Verdi. Well worth owning.

Who you callin' Fink?.......2001-07-11

I've always thought Bernarda Fink was a fabulous singer, but I never realized that she composed "Il Ritorno d'Ulisse in Patria"! For going on four centuries, Claudio Monteverdi has unfairly copped the credit, and it's about time justice was done.

missing the leppard, von stade, stilwell performance.......2001-05-06

While performances of the monteverdi operas by harnoncourt and jacobs are fine and enjoyable, i still miss quite heartfully the cbs masterworks recording of 'ritorno' by leppard that he made in 1980 with frederica von stade and richard stilwell and the london philharmonic/glyndebourne festival.

It was truly a gorgeous performance with beautiful singing, particularly by von stade, but also throughout the cast, including a beautifully performed ulisse by stilwell. Also to be noted in the cast was anne murray as minerva, and a shining keith lewis as giove. The orchestra is clean, tight, and judiciously utilized by leppard, but under his interpretation, leaves behind the spareness of historical performances, which while beautiful, can tend toward anemia, both vocally and instrumentally, when conductors, and performers, forget that while mathematics and music theory are quite similar in their constructs, organizing principles, and tools; and a score is a great proven theorem, music is always more than sound.

I don't know if this recording has ever been released on cd, at least i've never been able to find it. It's absence is a hole in the classical recording list transferred to cd. I miss it.

Excellent.......1999-04-04

This is a very solid performance, with no noticeably weak links. If you like early opera you will definitely enjoy this. There is a lot of recitative, but with good characterization it is not boring. The final duet is glorious.

Lagrime Mie: Early Songs of Love and Torment

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Lagrime Mie: Early Songs of Love and Torment

Manufacturer: PGM
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000011YB
Release Date: 1997-01-14

Tracks:

'Fortunato augellino,' Le nuove musiche
'Chi mi confort'ahime,' Le nuove musiche
'Belle rose porporine,' Le nuove musiche
'Passamezzo,' Libro primo d'intavolatura di chitarone
'Amarilli, mia bella,' Le nuove musiche
'Cruda Amarilli,' Le musiche
'Piange madonna,' Le musiche
'Di misera Regina' from Act I, scene I, Il ritorno d'Ulisse in patria
'Toccata,' Libro primo d'intavolatura di chitarone
'Lagrime mie,' Diporti di Euterpe, overo cantate et ariette a voce sola, Op.7
'Cosi mi disprezzate,' aria di passacaglia, Primo libro d'arie musicali per cantarsi...
'Ti lascio anima mia,' aria di Ruggieri, Secondo libro d'arie musicali per cantarsi...
'Se l'aura spira,' Primo libro d'arie musicali per cantarsi

Average customer rating:

Monteverdi: Il Ritorno d'Ulisse in Patria

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music

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Handel: Ariodante (Highlights)
Songs by Mahler, Handel & Peter Lieberson
Purcell: The Fairy Queen

ASIN: B00008NF41
Release Date: 2003-05-13

Monteverdi: Il Ritorno di Ulisse in Patria

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Monteverdi: Il Ritorno di Ulisse in Patria

Manufacturer: Nuova Era
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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Monteverdi: L'Orfeo / London Baroque - Medlam, Chiaroscuro - Caudle
An Inconvenient Truth

ASIN: B0006BHXUS
Release Date: 2005-01-04

Tracks:

Sinfonia - Alan Curtis
'Mortal Cosa' - Daniela Del Monaco
'Mortal Cosa Son Io' - Daniela Del Monaco
'Dio, De' Dei' - Nicholas Nackley
'Per Me Fragile' - Harry Van Der Kamp
Sinfonia - Alan Curtis
'Di Misera Regina' - Gloria Banditelli
'Duri E Penosi Son Gli Amorosi' - Timothy Martin
'Superbo E L'Uom' - Harry Van Der Kamp
'Gran Dio De' Salsi Flutti' - Harry Van Der Kamp
Sinfonia - Alan Curtis
'In Questo Basso Mondo' - Harry Van Der Kamp
'Dorma Ancora' - Leroy Villanueva
'Cara E Lieta' - Guillemette Laurens
'Tu D'Aretusa' - Guillemette Laurens
'Donate Un Giorno, O Dei' - Gloria Banditelli
'Oh Come'/'Pastor D'Armenti Puo Prati' - Giovanni Battista Palmieri
'Ulisse Generoso' - Leroy Villanueva
Sinfonia - Alan Curtis
'Lieto Cammino' - Mark Tucker

Tracks:

'Oh, Gran Figlio D'Ulisse!' - Mark Tucker
'Che Veggio, Ohime, Che Miro?' - Mark Tucker
''Oh Padre Sospirato!' - Mark Tucker
'Eurimaco, La Donna Insomma' - Timothy Martin
'Sono L'Altre Regine' - Harry Van Der Kamp
'Ama Dunque, Si, Si' - Harry Van Der Kamp
'Dame In Amor' - Harry Van Der Kamp
'Apportator D'Alte Novelle' - Gloria Banditelli
'Compagni, Udite?' - Harry Van Der Kamp
'N'han Fatti L'Opre Nostre' - Harry Van Der Kamp
'Del Mio Lungo Viaggio' - Mark Tucker
'Generosa Regina' - Harry Van Der Kamp
'Lieta E Soave Gloria' - Harry Van Der Kamp
'Ecco L'arco D'Ulisse' - Gloria Banditelli
'Amor, Se Fosti Arciero' - Harry Van Der Kamp
'Son Vani, Oscuri Pregi' - Gloria Banditelli
'Meraviglia, Stupori' - Harry Van Der Kamp
Sinfonia Da Guerra 'Minerva Altri Rincora' - Leroy Villanueva
'O Dolor, O Martir' - Paolo Fagotto
'Ericlea, Che Vuoi Far?' - Caterina Calvi
'Ogni Vostra Ragion' - Mark Tucker
'Illustratevi, O Cieli' - Gloria Banditelli
'Gia Che Sorta E Felice' - Gloria Banditelli

Monteverdi - Il Ritorno D'ulisse in Patria - Sergio Vartolo (3 Cd Set)

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Monteverdi - Il Ritorno D'ulisse in Patria - Sergio Vartolo (3 Cd Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000RBHFKA

Product Description

CLAUDIO MONTEVERDI (1567-1643) IL RITORNO D"ULISSE IN PATRI Opera in 5 acts Penelope - Gabriella Martellaci Ulisse - Loris Bertolo Iro - Davide Ciccbetti Melanto - Sofia Soloviy Eurimaco - Juan Gambina Eumete - Giovanni Gregnanin Telemaco - Makoto Sakurda Minerva, Fortuna - Angela Bucci Giunone, Amore - Lia Serafini Nettuno - Raffaele Costantini Giove, Anfinomo - Gianpaolo Fagotto Tempo, Antinoo - Walter Testolin Pisandro - Salvatore Gaias Ericlea - Maria Elena Fincato Il ritorno d"Ulisse in patria Cornetto soprano, cornetto tenore:Emmanuel Mure cornetto:Lluis Coll i Trulls fiffaro, recorder: Luigi Lupo, Rossella Pozzer violino I: Riccardo Manuel Vartolo violino II: Davide Monti viole: Luca Moretti, Barbara Ostini violoncello: Giordano Antonelli violone: Riccardo Rama Coelati chitarone, arciliuto,chitarra, cetera: Pietro Prosser clavicembalo II: Nicola Reniero Sergio Vartolo conductor from the cembalo and spinett

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A Musical Landscape

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000074J
Release Date: 1995-03-21

Monteverdi: L'Orfeo/Il Ritorno D'Ulisse in Patria/L'Incoronazione Di Poppea

Average customer rating:

As good as it gets.

Monteverdi: L'Orfeo/Il Ritorno D'Ulisse in Patria/L'Incoronazione Di Poppea

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000000SKE
Release Date: 1993-06-08

Customer Reviews:

As good as it gets........2007-05-29

Haroncourt isn't everyone's favorite but I far prefer him over the more "musicologically correct" performances that have appeared in recent years. (My favorite "Poppea" is the Glyndebourne with an orchestra and with Nero sung by a tenor.) About two years ago I attended a performance of "Poppea" at the University of Michigan with the accompaniment provided by a septet and harpsichord (for recitatives.) Nero, unfortunately, was a countertenor. Those prefering this type of "period" or "historically informed" performance can have it. These works described passionate, even "blood and guts", stories that need realistic voices and a true orchestral sound. The more I hear of screeching countertenors the more the unnatural sound of this voice becomes apparent. It becomes continually more tiresome to hear conductors and performers try to outdo each other to reproduce the "way it really sounded." Raymond Leppard, in his book on the subject of authentic performance, deals with the futility of trying to do so. If the period performance crowd really was serious then there would be no female performers of any kind in any work written prior to about the 1760's or 70's. I recall reading one Amazon review in which the writer summarily dismissed a recording of a work by Bach because it didn't use baroque instruments. I honestly believe composers of the past would glady have welcomed improvements in the musical instruments of their time.

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