 | Claudio Monteverdi - L'Orfeo, favola in musica (SV 318) Stereo: http://br.youtube.com/watch?v=TW7z5FD6Oxw&fmt=18 Claudio Giovanni Antonio Monteverdi (1567 - 1643). Claudio Monteverdi was born in 1567 in Cremona, in Northern Italy. During his childhood, he was taught by Marc'Antonio Ingegneri, the maestro di cappella or singing master, at the Cathedral of Cremona. He wrote his first music for publication, some motets and sacred madrigals, in 1582 and 1583 and by 1587 had produced his first book of secular madrigals. Between 1590 and 1611, Monteverdi worked at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player. 1602 was working as the court conductor. By 1613 Monteverdi had moved to the San Marco in Venice where, as conductor, he quickly restored the musical standard of both the choir and instrumentalists, which had declined due to the financial mismanagement of his predecessor, Giulio Cesare Martinengo. The managers of the basilica were relieved to have such a distinguished musician in charge, as the music had been in decline since the death of Giovanni Croce in 1609. Monteverdi was ordained a Catholic priest in 1632 and during the last years of his life, when he was often ill, he composed his two last masterpieces, both operas. Il ritorno d'Ulisse in patria (The Return of Ulysses, 1641), and the historic opera L'incoronazione di Poppea (The Coronation of Poppea, 1642), based on the life of the Roman emperor Nero. L'incoronazione especially is considered a culminating point of Monteverdi's work; it contains tragic, romantic, as well as comic scenes (a new development in opera), a more realistic portrayal of the characters, and warmer melodies than had previously been heard. It requires a smaller orchestra, and has a less prominent role for the choir. Monteverdi died in Venice on November 29, 1643 and is buried in the church of the Frari. L'Orfeo: L'Orfeo (L'Orfeo, favola in musica, SV 318, or La Favola d'Orfeo, or The Legend of Orpheus) is one of the earliest works recognized as an opera, composed by Claudio Monteverdi with text by Alessandro Striggio for the annual carnival of Mantua. It was first performed before the Accademia degl'Invaghiti on 24 February 1607 in a now unidentifiable room in the ducal palace at Mantua, and was published in Venice in 1609. The opera saw its modern debut on 25 February 1904 in a concert version in Paris directed by Vincent d'Indy. Le Concert des Nations. La Capella Reial de Catalunya. Montserrat Figueras (La Musica). Furio Zanasi (Orfeo). Arianna Savall (Euridice). Sara Mingardo (Messagiera). Cécile van de Sant (Speranza). Antonio Abete (Caronte). Adriana Fernandez (Proserpina). Daniele Carnovich (Plutone). Fulvio Bettini (Apollo). Mercedes Hernandez (Ninfa). Marilia Vargas (Eco). Gerd Türk (Pastores & Espiritus) Francesc Garrigosa (Pastores & Espiritus). Carlos Mena (Pastores & Espiritus). Ivan Garcia (Pastores & Espiritus). Dir. Jordi Savall. |
 | Claudio Monterverdi: L'Orfeo "Tocatta & Ritornello" Claudio Monterverdi: Orfeu: 1. Tocatta (again). 2. Ritornello: "Dal mio Permesso" Ensemble Elyma. Maria Cristina Kiehr (Soprano). Dir. Gabriel Garrido. |
 | Monteverdi - L'Orfeo - Savall Tocata Ritornello Dal mio Permesso amato |
 | Monteverdi: L'incoronazione di Poppea - Nerone and Lucano Nerone celebrates Seneca's death with Lucano singing about Poppea's sexual prowess, literally over Seneca's dead body. In the end Nerone faints in sexual ecstasy! Then Amore leads him away "playing the tune". In this scene from Ponnelle's film of Monteverdi's opera Eric Tappy sings Nerone and Philippe Huttenlocher sings Lucano. NERONE Or che Seneca è morto, Cantiam, cantiam Lucano, Amorose canzoni In lode di quel viso, Che di sua mano Amor nel cor, m'ha inciso. LUCANO Cantiam, Signore, cantiamo, NERONE e LUCANO Di quel viso ridente, Che spira glorie, ed influisce amori; cantiam Di quel viso beato, LUCANO In cui l'idea d'Amor se stessa pose, NERONE e LUCANO E seppe su le nevi Con nova meraviglia, Animar, incantar la granatiglia. Cantiam, di quella bocca A cui l'India e l'Arabia Le perle consacrò, donò gli odori. LUCANO Bocca, che se ragiona o ride, Con invisibil arme punge, e all'alma Donna felicità mentre l'uccide. Bocca, che se mi porge Lasciveggiando il tenero rubino M'inebria il cor di nettare divino. NERONE Bocca, ahi, destino ! LUCANO Tu vai, signor, tu vai Nell'estasi d'amor deliciando, E ti piovon dagl'occhi Stille di tenerezza, Lacrime di dolcezza. NERONE Idolo mio, Poppea! Celebrarti io vorrei, Ma son minute fiaccole, e cadenti, Dirimpetto al tuo sole i detti miei. |
 | Bach - Brandenburg Concerto No. 3 in G major (BWV 1048) Johann Sebastian Bach - Brandenburg Concerto No. 3 in G major (BWV 1048). Title on autograph score: Concerto 3zo a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo. Instrumentation: three violins, three violas, three cellos, and basso continuo (including harpsichord). The second movement consists of a single measure with the two chords that make up a Phrygian mode cadence and — although there is no direct evidence to support it — it was likely that these chords are meant to surround or follow a cadenza improvised by a harpsichord or violin player. Modern performance approaches run a gamut from simply playing the cadence with minimal ornamentation (treating it as a sort of "musical semicolon"), to inserting movements from other works, to cadenzas varying in length from under a minute to over two minutes. Notably, Wendy Carlos's three electronic performances (from Switched-On Bach, Switched-On Brandenburgs, and Switched-On Bach 2000) have second movements that are completely different from each other. Occasionally, the third movement from Bach's "Sonata for Violin and Continuo in G , BWV. 1021" (marked Largo) is substituted for the second movement as it contains an identical Phrygian mode cadence as the closing chords. The Adagio from the Violin Sonata in G, BWV 1019a, has also been used. The outer movements use the ritornello form found in many instrumental and vocal works of the time. The first movement can also be found in reworked form as the sinfonia of the cantata BWV 174, "Ich liebe den Höchsten von ganzem Gemüte", with the addition of three oboes and two horns. 1. Allegro. Le Concert des Nations. La Capella Reial de Catalunya. Fabio Biondi (Violino). Pierre Hantai (Clavecin). Marc Hantai (Flute). Pedro Mesmeldorff (Flute). Alfredo Bernardini (Hautbois). Paulo Grazi (Hautbois). Jordi Savall (Basse de Viole). Dir. Jordi Savall. |
 | Monteverdi: Pur ti miro, pur ti godo Claudio Monteverdi "L'Incoronazione di Poppea" Third act, eighth scene: Nerone and Poppea, "Pur ti miro, pur ti godo" Poppea -- Mireille Delunsch Nerone -- Anne Sofie von Otter Les Musiciens du Louvre Marc Minkowski -- conductor Klaus Michael Grüber -- stage director Festival d'Aix-en Provence, Théâtre de l'Archevêché, July 2000 |
 | Claudio Monteverdi - L'Orfeo (parts) Claudio Monteverdi - L'Orfeo (parts): 1. Sinfonia. 2. Orfeo: "Scòrto da te, mio Nume". 3. Speranza, Orfeo, Caronte: "Ecco l'altra palude". |
 | Claudio Monteverdi opera " Orpheus" Toccata Claudio Monteverdi " Orpheus" |
 | Daphné Touchais - L' Orfeo [Monteverdi] French soprano Daphné Touchais (b. 1978) as La Musica in the Prologue of Claudio Monteverdi's 1607 opera "L' ORFEO". Lyon, 2004. |
 | L'Orfeo - Scorto da te / C.Monteverdi Víctor Torres, Orfeo Marie-Claude Chappuis, Speranza Cond. Giovanni Antonini, Giardino Armonico Dir. Philippe Arlaud Grand Theatre de Geneve, 2005 |
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