Customer Reviews

Monteverdi: Il ritorno d'Ulisse in patria / Harnoncourt

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3 star:		(1)
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Now that Baroque opera is no longer a novelty, this recording is more of a good study source and historical document than a performance. In 1971 Harnoncourt was one of the few international artists to champion Monteverdi et al; today, although the musical values (original instruments, tempi, continuo realization, etc.) are impeccable, this recording disappoints because the singing is so uneven (the Ulisse, Sven-Olof Eliasson, is a real operatic baritone with a lush, ringing sound; the Penelope, Norma Lerer, sings well but with the limited sound of a church alto; meanwhile, some other major roles are sung very badly indeed). Today, any music school putting on a production of "Ulisse" would use Harnoncourt's recording as a scholarly starting point, but would cast the opera with much better voices.

Accept two caveats before reading this review. First I have not listened to any other version and secondly, I have no musial education. I can only supply a wholly subjective view.
This is a very human story despite it's origins in the mythic witings of Homer. A poetic libretto, one of the best in opera, is by Giocomo Baduara.
The scores of Poppea and Ritorno exist as only a vocal lines and continuo Harnncourt has opted a variety of intruments that were in common use and his choice to use particular instruments adds to the dramatic intrigue.
I found that I enjoyed the opera from beginning to it's glorious end when Penelope finally recognizes Odysseus. The conducting by Harnoncourt makes up for any problems(?) with the singers.

If you're breaking into Classical Music and have been turned off by the very early works, I would encourage you to have a listen to these songs which come from one of the very earliest operas ever written.

Claudio Montiverdi lived from 1567 to 1643. This opera was written in Venice not long before his death and is all about "The Homecoming of Odysseus".

The instruments used in conveying this rare composition are those which were in popular use at the time, so the sound is refreshingly unique, not something that you're likely to hear elsewhere.

The work is quite lengthy, adhering strictly to the original poem which serves as the libretto. The three-CD set comes with a very nice 162-page liner booklet which outlines the general story, the instrumentation, and lists the entire libretto.

This CD represents a masterpiece of very early operetic work.