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蒙台威爾第: 巴洛克歌劇(奧菲歐)
艾米里亞諾・岡薩雷斯・托羅 男高音
雙胞胎合奏團
Monteverdi's Orfeo, produced in 1607 at the ducal palace in Mantua, and considered the first true opera in history, is a masterpiece unique in its art of musical conception and representation, one that continues to inspire the greatest musicians. In this, the third recording that Emiliano Gonzalez Toro and his ensemble I Gemelli have made for naive, the voice is the main focus of their lush interpreta-tion highlighting both the aesthetic inherited from the Renaissance and the modernity of this virtuoso work. This highly acclaimed production, staged in Paris and Toulouse at the end of 2019, is unusual in being directed 'by the voice' – i.e. by the solo tenor, who sings the title role while also conducting all the singers and instrumentalists. Emiliano Gonzalez Toro and the other ten soloists in the cast pay care-ful attention to the vocal lines, which are richly orna-mented and highly contrasted in their dynamics and moods: a constant tension is maintained bet-ween the narrative and the way the characters inter-vene in it.
Out of this fragmentation, an integral component of Striggio's poem and the template for the propor-tions and balance of Monteverdi's 'fable in music', the artists assembled here conjure a sense of movement and creativity, thanks to which re-currence is never repetition, with the pastoral scenes enhancing the introspective moments, such as Rosa de ciel from Act I, the famous lament Tu se' morta (Act II), and the arrival of Orpheus in hell in Act III (Scorto da te). The continuo section, here imaginatively inventive in its choice of sound timbres and accompanimental styles, enriches both the vocal sound and the instrumental texture, which is dominated by viols, as well as featuring a chitar-rone from the year 1600 (borrowed from the collec-tion of the Musee de la Musique in Paris). And so we see the ancient myth here releasing a truly fes-tive character, and a powerful breath of the divine.
claudio monteverdi 1567-1643
l'orfeo
CD1
1 toccata 1'29
2 ritornello 0'41
3 prologo – [la musica] dal mio permesso amato 5'03
ATTO PRIMO
4 [pastore] in questo lieto e fortunato giorno 1'23
5 [coro] vieni imeneo, deh vieni 0'38
6 [ninfa] muse, onor di parnaso 0'48
7 [coro] lasciate i monti 1'13
8 ritornello 0'19
9 [pastore, orfeo, euridice] ma tu, gentil cantor 3'29
10 [coro] lasciate i monti 0'28
11 ritornello 0'21
12 [coro] vieni imeneo, deh vieni 0'41
13 [pastore] ma s'il nostro gioir dal ciel deriva 0'40
14 ritornello – [pastori, ninfe] alcun non sia che disperato in preda 3'06
15 [coro] ecco orfeo 0'37
ATTO SECONDO
16 sinfonia 0'17
17 [orfeo, pastore] ecco pur ch'a voi ritorno 0'51
18 ritornello – [due pastori] in questo prato adorno 0'48
19 ritornello – [due pastori, coro] qui le napee vezzose 0'59
20 ritornello – [orfeo] vi ricorda, o bosch'ombrosi 2'00
21 [pastore, messaggiera, orfeo] mira, deh mira orfeo 8'34
22 [coro] ahi caso acerbo! 1'05
23 [messaggiera] ma io, ch'in questa lingua 1'08
24 ritornello 1'09
25 [coro] chi ne consola, ahi lassi? 1'38
26 [coro, due pastori] ahi caso acerbo! 2'32
27 ritornello 0'50
CD2
ATTO TERZO
1 sinfonia 1'10
2 [orfeo, speranza, caronte] scorto da te, mio nume 5'45
3 sinfonia 0'47
4 [orfeo] possente spirto, e formidabil nume 9'25
5 [caronte, orfeo] ben mi lusinga alquanto 1'46
6 sinfonia 0'50
7 [orfeo] ei dorme 1'58
8 sinfonia a 7 0'31
9 [coro di spiriti infernali] nulla impresa per huom si tenta invano 1'41
10 sinfonia a 7 0'34
ATTO QUARTO
11 [proserpina, plutone, spiriti] signor, quel infelice 6'11
12 [coro di spiriti] pietade, oggi 0'21
13 [spirito] ecco il gentil cantore 0'10
14 ritornello – [orfeo, spiriti, euridice] qual honor di te sia degno 5'05
15 sinfonia a 7 0'36
16 [coro di spiriti] e la virtute un raggio 1'22
17 sinfonia a 7 0'41
18 ritornello 0'46
ATTO QUINTO
19 [orfeo, eco] questi i campi di tracia 6'17
20 sinfonia 0'47
21 [apollo, orfeo] perch'a lo sdegno 3'36
22 [apollo, orfeo] saliam cantando al cielo 1'16
23 ritornello – [coro] vanne, orfeo, felice a pieno 1'01
24 moresca 0'49 |
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