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La Voce Di Orfeo

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Audio CD, June 30, 2009
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1. Filli mia, Filli dolce
2. Amor l'ali m'impenna, madrigal
3. Vorrei baciarti, o Filli, for voice & continuo (Le musiche, Book 1)
4. Passamezzo for ensemble
5. Dolcissimo sospiro, for voice & continuo
6. Dalla porta d'oriente, for voice & continuo
7. Sinfonia for ensemble
8. La favola d'Orfeo, opera, SV 318: Rosa del ciel
9. In morte di Madonna, song
10. Dove, misero, mai
11. La favola d'Orfeo, opera, SV 318: Solo di arpa
12. Cara Mia Cetra Andianne for voice solo
13. Vedro'l mio sol
14. Un guardo ohime ch'io moro, madrigal
15. Sinfonia for ensemble
16. Et è pur dunque vero, madrigal for soprano (from Scherzi musicali), SV 250
17. Sfogava con le stelle, madrigal
18. Sovente, allor (from Le Musiche, 1609) Piero
19. Mille regretz, diminution for lute after Josquin
20. Porto celato il mio nobil pensiero, madrigal
See all 21 tracks on this disc

Product Details

  • Audio CD (June 30, 2009)
  • Number of Discs: 1
  • Label: Naive
  • ASIN: B001U5PE0A
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #621,214 in Music (See Top 100 in Music)

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1 of 1 people found the following review helpful By Reviewer on April 8, 2013
Format: Audio CD
Okay, that might be hyperbole, but I'm not the first to say it. There were surely mid-range male voices singing the "tenor" lines of Renaissance polyphony, though the best of them were nearly all Flemish. Besides, "tenor" in the 16th C referred to the structural role of the part so designated rather than to a vocal range. No doubt Monteverdi drew upon a corps of singers with a distinctive vocal technique already popular in Italy in his era for the exquisite tenor solos and duets of his Vespers of 1610 and for the role of Orfeo in his Favola in Musica of 1607, and no doubt also that other Italian composers of the same era -- Peri, Caccini, Landi -- made similar use of the fruity timbres and sprezzatura of madrigal-trained male voices. It's really the greatness of Monteverdi's music which makes it seem in retrospect as if no one had ever sung so magniloquently before L'Orfeo, whose voice could charm the implacable Pluto.

The first tenor to sing the role of Orfeo, in Mantua in 1607, may have been Francesco Rasi (1574-1621), a gifted but mercurial composer in his own right who was often acclaimed as the greatest singer of his day. Rasi was cursed with a stain of aristocratic blood but with neither aristocratic wealth nor connections; pride never allowed him to make his career as an ordinary professional musician, a status that he considered servile. His adventures and misadventures kept him skuttling across Italy and Europe as far as Poland in the company of the supreme madrigalist Luca Marenzio. His musical fame was such that both princes, including Don Carlo Gesualdo, and composers such as Monteverdi demanded his attentions, but his emotional instability was such that he murdered his step mother and her steward in order to steal a few coins and rings.
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0 of 1 people found the following review helpful By Caveat Auditor on April 16, 2013
Format: Audio CD Verified Purchase
I awaited this album with particular excitement, since the works of Francesco Rasi (1574 - 1621) were hitherto completely unknown to me. Famous male singers in the renaissance to baroque cross-over department often composed their own arias, and, in some cases even operas. First came the Seconda Prattica Andrews Sisters of the 1580's - known as the "Concerto delle donne," featuring Laura Peverara, Livia d'Arco and Anna Guarini. Contemporary with these ladies was Giulio Caccini (1551 - 1618) the Bing Crosby of his day. He published one of the most influential collections of monodic songs called "Le Nuove musiche" in 1602. Then, around 1600, a half-generation younger came the Frank Sinatra of the Florentine Camerata: Jacopo Peri (1561 -1633). The "Concerto delle donne" had all the famous madrigal composers write music for them (no doubt expecting rewards in naturalia), but Peri, like Caccini, wrote his own hit canzone and the very first opera worthy of the name, Dafne, around 1597 which is, alas, lost to us today. He is also credited with writing the first opera to have survived to the present day, Euridice (1600), but this is disputable as Caccini relegated him to second place by about 6 moths due to the publication of his own Euridice in early 1600 (even while he was helping Peri write some music for HIS Euridice - go figure; the music business has always been nasty it seems). Unlike Caccini, Peri was never entirely forgotten, as some of his monodic canzone were a regluar feature (usually bastardized by some editor) in "Songbooks" with "for Beginners" printed underneath the title in a barely legible font. Who wrote what when gets very confusing in the baroque era, and since musicologists have a hard time straightening things out, I shall not attempt to do so any further.Read more ›
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