La Venexiana - Monteverdi: Secondo Libro dei Madrigali, 1590 (2004)

La Venexiana - Monteverdi: Secondo Libro dei Madrigali, 1590 (2004)

Artist: La Venexiana
Title: Monteverdi: Secondo Libro dei Madrigali, 1590
Year Of Release: 2004
Label: Glossa
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 01:09:13
Total Size: 335 Mb


01. Non si levava ancor l’alba novella
02. E dicea l’una sospirando allora
03. Bevea Fillide mia
04. Dolcissimi legami
05. Non giacinti o narcisi
06. Intorno a due vermiglie e vaghe labra
07. Non sono in queste rive
08. Tutte le bocche belle
09. Donna, nel mio ritorno
10. Quell’ombra esser vorrei
11. S’andasse Amor a caccia
12. Mentr’io mirava fiso
13. Ecco mormorar l’onde
14. Dolcemente dormiva la mia Clori
15. Se tu mi lassi, perfida, tuo danno
16. La bocca onde l’asprissime parole
17. Crudel, perché mi fuggi?
18. Questo specchio ti dono
19. Non m’è grave il morire
20. Ti spontò l’ali, Amor, la donna mia
21. Cantai un tempo e se fu dolce il canto


La Venexiana
Claudio Cavina, director

Rossana Bertini, soprano
Nadia Ragni, soprano
Claudio Cavina, countertenor
Giuseppe Maletto, tenor
Sandro Naglia, tenor
Daniele Carnovich, bass

La Venexiana's Secondo Libro del Madrigali is the second volume in an edition devoted to the recording of all eight of Claudio Monteverdi's madrigal collections undertaken by the Spanish label Glossa. In promotional materials for the series, Glossa admits that this is a "time when 'complete' recordings seem to be coming less meaningful and attractive for the music lover" but have decided that there is need for such a series, especially as La Venexiana is so well-versed in the madrigals of Monteverdi. For once this is not hype; at present the competition in a book-by-book survey of Monteverdi's madrigals consists of Rinaldo Alessandrini on Opus 111, recorded in the 1990s, and Anthony Rooley with the Consort of Musicke on Virgin, recorded back in the 1980s. Both of these cycles have their virtues and are expertly performed, although Alessandrini's recording is very dry and his sopranos are a tad loud in comparison to the men. Rooley's group contains some very famous singers, including Emma Kirkby and Evelyn Tubb, and the personalities of these very individual voices radiate through the texture. One could count this as a plus or a minus depending on whether the listener likes these vocalists, or prefers a more unified sound in the interpretation of Monteverdi's madrigals.

There are no star performers in La Venexiana and the approach to both singing and sound is consistent throughout. Secondo Libro del Madrigali was recorded in the Basilica of San Gaudenzio in Novara and is a little quiet in volume, but the voices blend very well with no sharp edges. The bass in La Venexiana, Daniele Carnovich, is in particular outstanding and deserves singling out, but overall Secondo Libro del Madrigali seems to touch all the right bases in terms of what Monteverdi intends to convey through the music. The second book of 1590 contains early Monteverdi madrigals and includes some individual pieces that remain among the most popular of his short works in this genre. If one is looking for a single disc out of Glossa's Monteverdi Edition in order to sample the whole project, this is a good place to start.


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