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  • Monteverdi: Combattimento Di Tancredi E Clorinda / Ballo Delle Ingrate
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Monteverdi: Combattimento Di Tancredi E Clorinda / Ballo Delle Ingrate


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Audio CD, October 27, 1998
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Editorial Reviews

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Monteverdi's Eighth Book of Madrigals was a milestone, coming late in the then septuagenarian composer's life and offering the fullest flowering of the madrigal form. The two lengthy works collected here fall into the two chief camps in the Eighth Book, martial and amorous madrigals. The former type is represented by Il Cambattimento di Tancredi e Clorinda, and the latter by Il Balls delle Ingrate. The singing is extraordinary, warm in the lower ranges (of which the lowest is bright and full indeed) and breathtaking in the accelerated trills and quickly tumbling inner machinations of Monteverdi's agitated style. In addition Rinaldo Alessandrini and Concerto Italiano simply couldn't have come up with a broader attack on the pieces, making them sound operatic, symphonic, and intimate at once. This is not only one of 1998's best vocal CDs, it is, when taken with Allesandrini's Book 1 of the Eighth Book, one of the finest looks at Monteverdi in the realm of recorded music. --Andrew Bartlett

1. Il Combattimento di Tancredi e Clorinda: Sinfonia: Dario Castello, Sonata Decimaquinta a quattro (Sonate concertate in stil moderno..., Libro secondo, 1629)
2. Il Combattimento di Tancredi e Clorinda: Testo - Tancredi, che Clorinda un homo stima
3. Il Combattimento di Tancredi e Clorinda: Sinfonia
4. Il Combattimento di Tancredi e Clorinda: Testo - Non schivar, non parar
5. Il Combattimento di Tancredi e Clorinda: Testo - E stanco e anelante
6. Il Combattimento di Tancredi e Clorinda: Testo - Cosi tacendo e rimirando
7. Il Combattimento di Tancredi e Clorinda: Guerra - Testo - Torna l'ira nei cori, e li trasporta
8. Il Combattimento di Tancredi e Clorinda: Testo - Ma ecco homai
9. Il Combattimento di Tancredi e Clorinda: Clorinda in quattro viole - Amico, hai vinto
10. Il Combattimento di Tancredi e Clorinda: Testo - In queste voci languide
11. Il Ballo delle Ingrate: Sinfonia (Monteverdi, L'Incoronazione di Poppea, Napoli, 1642)
12. Il Ballo delle Ingrate: Amore - De l'implacabil Dio
13. Il Ballo delle Ingrate: Sinfonia
14. Il Ballo delle Ingrate: Plutone - Bella madre d'Amor
15. Il Ballo delle Ingrate: Plutone - Udite, udite
16. Il Ballo delle Ingrate: Amore e Venere - Ecco ver noi l'addolorate squadre
17. Il Ballo delle Ingrate: Entrata e Ballo
18. Il Ballo delle Ingrate: Plutone - Dal tenebroso orror
19. Il Ballo delle Ingrate: Seconda parte del Ballo
20. Il Ballo delle Ingrate: Ripresa dell'Entrata e Anima Ingrata sola

Product Details

  • Performer: Concerto Italiano
  • Conductor: Rinaldo Alessandrini
  • Composer: Claudio Monteverdi
  • Audio CD (October 27, 1998)
  • Number of Discs: 1
  • Label: Opus 111
  • ASIN: B00000DG57
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #461,421 in Music (See Top 100 in Music)

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12 of 12 people found the following review helpful By Sator on July 29, 2005
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Monteverdi's setting of the great Humanist poet Tasso's Il Combattimento di Trancredi e Clorinda has been a favorite of mine since I discovered it over ten year ago. If you have yet to discover it for yourself then you are in for something of a real treat. This is a work created in the age of the birth of opera and in original performances the singers wore costumes in a semi-theatrical enactment during the Venetian Carnival. Musically, the style is essentially operatic in its extensive use of homophonic and monodic passages which contrasts markedly to the usually rich polyphonic character of madrigal writing up to this point. Combined with the 'stile concitato' with its musical outlet of violent emotion in passages with much spicey dissonance, this music represents a radical departure from tradition of the sort that Vincenzo Galileo (father of the astronomer) decried in his polemics against Monteverdi's avant garde art. It is here that Monteverdi - along with contemporaries such as Caccini, who fathered opera - hurls music along the route towards a homophonic-triadic musical language that we subsequently take for granted every time we listen to Mozart, Beethoven, Wagner - or for that matter the Beatles.

Tancredi recognizes the figure of a Saracen knight in the darkness and challenges Clorinda to a bloody battle to the death - not realizing it is the legendary Saracen female warrior and their equivalent of Joan of Arc. Tancredi and Clorinda engage in a relentless battle until with both exhausted - the stars fading at the break of dawn - Tancredi plunges his sword into her breast "where immersed, it avidly drinks her blood". She falls dying where she forgives Tancredi and pleads to be baptized (this is Italian music after all!).
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