Customer Reviews

Monteverdi: Teatro d'Amore

5 star:		(7)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

...but if you love for your early music in general and Monteverdi in particular to be full of dramatic and musical relevance, you'll definitely want this new release from Pluhar's L'Arpegiatta. They'll be few instances in which the immediacy of the music and richness of the text will seem more vigorous or well matched. There's something absolutely infectious about the performances, not to mention something that would seem almost impossible in 400 year old music, and that is a type of freshness that almost verges on the novel, but never so much that it distorts or cheapens the innate beauty of Monteverdi's art. It's playful yet mature, beautiful without being garish. Those who prefer their early music on the more academic and, dare I say, staid side, will no doubt object to liberties Pluhar has taken but those open to new ideas and innovative touches, will eat this recording up. Suffice it to say that I strongly recommend it.

As anyone who has previously encountered L'Arpeggiata will already realise, two aspects define this excellent Parisian-based ensemble: firstly, a phenomenally high level of musicianship, and secondly, a penchant for programmes which are anything but middle-of-the-road (including, in previous years, collaborations with Italian folk singers, flamenco guitarists and even the renowned jazz clarinettist Gianluigi Trovesi). The present recording, a quasi Baroque 'jam session' focusing on some of Monteverdi's best-known 'hits', is no exception. The level of singing and playing is superb throughout - Nuria Rial (soprano), Philippe Jaroussky (countertenor) and Doron Sherwin (cornett) deserve particular mention for their outstanding contributions to the ensemble.

In many respects, the opulent continuo sound of L'Arpeggiata seems ideally suited to Monteverdi's music, with its marked emphasis on varying, sonorous textures: 'Con che soavità' (track 14), for example, is unique amongst the entire monodic repertoire in using three contrasting choirs of stringed instruments (rather than just one continuo part). In addition, the more 'rubato' approach of the vocal soloists in certain tracks is noteworthy: not only does this reflect the views of numerous contemporary musicians and theorists (e.g. Zaconni [1592], Caccini [1601] and Frescobaldi [1615], etc.), but, for the 'Lamento della Ninfa' (track 5), is even requested by Monteverdi himself: 'il pianto di essa [ninfa] qual va cantata a tempo del'affetto dell'animo e non a quello de la mano' (preface, 8th Book of Madrigals, 1638).

Overall, however, there can be little doubt that L'Arpeggiata's approach to this music is not for the faint hearted. Some of the liberties are glaring, such as their use of Moorish percussion and their tendency to present 'snippets' of pieces - the 'Lamento della Ninfa' (track 5) lacks its introductory and concluding sections, 'Hor che'l ciel e la terra' (track 11) lacks its 'seconda parte', and the unspecified 'instrumental' tracks (1, 7 and 13) are a random mishmash of sinfonias and dances taken from 'Orfeo' (1607, Prologue and Acts II & V) and 'Il Ballo delle Ingrate' (1608). Other aspects are perhaps less obvious but no less disturbing. Firstly, the use of cornetti in the madrigals is not very plausible, especially where Monteverdi stipulates 'con doi violini' (as is the case for tracks 11 and 15). Even allowing for the close correlation between violin and cornett at this time, there is no reason why Monteverdi's directions should not be interpreted literally here, particularly given that there are many other examples where he does actually leave the choice open to performers, writing an indication such as 'con quattro viole o Tronboni' (see below *1). Secondly, whilst the embellishments are undeniably astonishing at times (most obviously from cornettist Doron Sherwin), one is left wondering whether Monteverdi would really have approved of such extreme decoration - certainly, his contemporaries were near unanimous in their scornful dismissal of such shameless virtuosity (see below *2). Lastly, questions arise concerning some of the choice of speeds (see below *3) and, just occasionally, the pronunciation (see below *4).

I suspect that these issues will be of little concern to most: certainly, if judged on the strength of the musicianship alone, it hardly needs saying that this is an outstanding release. Ultimately, then, perhaps there is only one real question posed by this recording - namely, should we aim to present Monteverdi's music (or indeed any classical music) as it was probably originally envisaged, or should we simply make it relevant for today's audience...? Listeners must decide for themselves what the answer to such a question is (if, indeed, it can ever really be answered...!).


*1 - such an inscription is found frequently in his sacred works (particularly in his 'Selva Morale' collection of 1641).
*2 - Girolamo dalla Casa ('Il vero modo di diminuir', 1584) can be taken as representative: 'with divisions, do few things but make them good'. Similar views are found in Ercole Bottrigari ('Il Desiderio', 1594), Ludovico Viadana (preface to 'Cento concerti ecclesiastici', 1602), Marco da Gagliano (preface to 'La Dafne', 1608) and Adriano Banchieri ('Gemelli armonici', 1609 and 'Vezzo di perle musicale', 1610), etc.
*3 - the opening of 'Hor che'l ciel e la terra' (track 11) and the pavan-like 'entrata' of 'Il Ballo delle Ingrate' (track 13), for example, would surely have benefitted from a broader, much more spacious approach; additionally, some of the tempi changes between pieces (e.g. track 12) seem very extreme (aesthetically and academically).
*4 - in 'Interrotte speranze' [track 8], for example, 'trofei' should actually be 'troFEI' (rather than 'TROfei'), a slip which undermines the subtleties of the scansion by making it too regular for Italian hendecasyllabic verse.

I have become obsessed with this disc. After one hearing, I decided it was great iPod material and imported it right away, and I just keep listening. These performers understand that Monteverdi was one of the great songwriters and most popular composers of his time, and that it was a time that valued improvisation and imagination in the performance of music. They supply the imagination in spades! They even provide some "swing" to a few of the songs, with no announcement in the booklet that this will be happening. When I played this for a friend whose sole exposure to Monteverdi so far was the 1610 Vespers, he said "No way, that's not Monteverdi." But it IS Monteverdi. I especially enjoyed Philippe Jaroussky's work in two solo songs and two excerpts from The Coronation of Poppea. Nuria Rial is splendid in selections from the late madrigal books. Pluhar and her ensemble play Monteverdi like the popular composer that he was. The imaginative accompaniments are faithful to the originals but take off in delightful directions. I wish they would record a follow-up - there is so much great Monteverdi material of this type, and they've but scratched the surface!

'Teatro d'Amore should be in the running for "Classical Recording of the Year" What fun it must have been for the performers to create this splendid recording. I have bought three copies for friends, and continue to hear new details and nuances with each listening. Christina Pluhar uses great musicians and singers on this CD, and the ensemble playing is incredible. There is something for everyone here, but "Lamento della Ninfa" and "Zefiro torna" are incredibly beautiful, and will melt your heart. Its amazing how modern this music sounds, the "walking bass" line of Chiome d'oro, and Ohimie ch'io cado are an interesting side note, but in the end its Claudio Monteverdi who is truly a "man for all seasons"

Ray Parton

Christina Pluhar and her orchestra L'Arpeggiata, made a great record again.
Experience how great the music of Monteverdi is when played on a different and creative way, with respect of old instruments and old playing practises. Christina and her collegues really love this music, that you can experience when listening to this record. Nuria Rial is one of the best sopranos of today, her voice has this remarkable Spanish colour in it, making her the ideal performer for misic like Monteverdi. Leaving the rusted traditional ways of making music and exploring new views of music practise now has its fruits: This record is a joy to listen to, very well recorded by Virgin: when you have a high-end audio set now you can enjoy every dollar you invested in it! Listen to more records of L'Arpeggiata like "Los Impossibles" you will be amazed!

5 stars! Recommended.

regards,
Hans.

Extraordinary! I love every second of this disk. The liberties Christina Pluhar allows when playing Monteverdi make 'Teatro d'Amore' one of the most beautiful fresh interpretations of renaissance pieces. This disk is recommended only to those music admirers that treasure and boast imagination. Hardly could be described the beauty of the interpretation as well as the good assortment of the compilation. Congratulation!

I don't think I have sufficient words for the amount of praise I want to heap upon this recording. L'Arpeggiata demonstrates exactly how Early Music *should* be approached and performed. The vocalists are all top-notch, particularly the fine French countertenor, Philippe Jaroussky, and the soprano (Nuria Rial). The continuo band represents the apogee of lush, sensuous instrumental textures, with extremely sensitive ensemble playing.

This album presents an embarrassment of riches for the listener: one gem after another, with not a weak offering in the mix. My only wish is that they had presented Hor che'l ciel (Track 11) and Lamento della Ninfa (Track 5) in their larger contexts.

I eagerly look forward to more releases from this stellar young ensemble!

As stated by another reviewer, purists will balk at this release. Those expecting an Historically Informed Performance (HIP) will be shocked. However, if you get past the initial shock, you will realize there is much to love about this disc. If you want Monteverdi played "straight" HIP, there are hundreds of discs available. Pluhar, however, gives a modern spin on these works, as if they had been written in the 20th century. Pieces are modified with jazzy or latin rhythms or odd percussion, and yet, everything is done tastefully and just sounds right. "Pur ti miro", taken from the opera "L'incoronazione di Poppea", as sung by Jaroussky and Rial, is an absolute delight. "Amor", sung by Rial, is a deeply affecting lament. I am not usually big on Monteverdi, but this CD grabbed me from the first note and didn't let go. Try the sound bites now !

I bought this CD on the basis of positive Amazon reviews and a positive review in a stereo magazine. I should have known better; the magazine's staff of critics is proven, once again, to have tastes in recordings very different from mine.

I do appreciate the spirit of this disc; it's an interesting thematic concept, the music itself is engaging, and in many ways the sound-quality is excellent. The problem, however, is the singing, which is quite annoying--largely a function of how the voices were recorded (or how the CD was mastered). The singers all have excellent voices, but the recorded sound gives them a glare and edginess that is irritating. (Also, there is some singing here by a countertenor--very ably done--but not my favorite listening pleasure.) The instrumentals, while beautiful, are more glassy-sounding than irritating.

Do not buy this cd if you value your privacy. It comes unannounced with a piece of software called Opendisc. This Opendisc appears to be some sort of open software project and is probably benign. However, the software autoruns itself, does various things offensive to Comodo firewall (not unusual) and then elicits various personal information to allow you to establish a link to an artist site on the internet. Inoffensive to many, I suppose, but anybody who recalls the Sony debacle with a rootkit will probably resent the invasiveness and concealment involved. (C*ware is a term used to describe all the unwanted software c* that comes on a new computer.)