CD (Compact Disc) Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit [61] In this new style, the text dominates the music; while sinfonias and instrumental ritornelli illustrate the action, the audience’s attention is always drawn primarily to the words. On 6 May 2010 the BBC broadcast a performance of the opera from La Scala, Milan. As an art form, opera was created not quite 20 years earlier, in an attempt to recapture the musical and dramatic ideas of ancient Greece. The younger Striggio was himself a talented musician; as a 16-year-old, he had played the viol at the wedding festivities of Duke Ferdinando of Tuscany in 1589. ICM 69 Movements/Sections Mov'ts/Sec's: prologue, 5 acts Year/Date of Composition Y/D of Comp. Among those present at the Euridice performance in October 1600 was a young lawyer and career diplomat from Gonzaga’s court, Alessandro Striggio, son of a well-known composer of the same name. After years of neglect, Monteverdi’s music began to attract the interest of pioneer music historians in the late 18th and early 19th centuries, and from the second quarter of the 19th century onwards he is discussed increasingly in scholarly works. A shepherd announces that this is the couple’s wedding day; the chorus responds, first in a stately invocation (“Come, Hymen, O come”) and then in a joyful dance (“Leave the mountains, leave the fountains”). This separates Monteverdi’s work from the later opera canon, and makes each performance of L’Orfeo a uniquely individual occasion. Many of these were the work of composers, including Carl Orff (1923 and1939) and Ottorino Respighi in 1935. Musicologist Robert Donington writes similarly: “[The score] contains no element which was not based on precedent, but it reaches complete maturity in that recently-developed form … Here are words as directly expressed in music as [the pioneers of opera] wanted them expressed; here is music expressing them … with the full inspiration of genius.”. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. Only fragments of its music still exist, but several other Florentine works of the same period—Rappresentatione di Anima, et di Corpo by Emilio de’ Cavalieri, Peri’s Euridice and Giulio Caccini’s identically titled Euridice—survive complete. (1643). Das Libretto stammt von Alessandro Striggio dem Jüngeren. He had been employed at the Gonzaga court for 16 years, much of it as a performer or arranger of stage music, and in 1604 he had written the ballo Gli amori di Diane ed Endimone for the 1604–05 Mantua Carnival. After a gracious welcome to the audience she announces that she can, through sweet sounds, “calm every troubled heart.” She sings a further paean to the power of music, before introducing the drama’s main protagonist, Orfeo, who “held the wild beasts spellbound with his song”. Audio CD. When played on period wind instruments the sound can be startling to modern audiences; Redlich calls it “shattering”. Led by Jacopo Corsi, these successors to the renowned Camerata were responsible for the first work generally recognized as belonging to the genre of opera: Dafne, composed by Corsi and Jacopo Peri and performed in Florence in 1598. Contents: Monteverdi's Opera, Instrumental Pieces, Vocal Pieces. . In 1965, Sadler’s Wells, forerunner of English National Opera (ENO), staged the first of many ENO presentations which would continue into the 21st century. With Montserrat Figueras, Furio Zanasi, Arianna Savall, Sara Mingardo. In L’Orfeo, Monteverdi extends the rules, beyond the conventions which polyphonic composers, faithful to Palestrina, had previously considered as sacrosanct. Die Oper besteht aus einem Prolog und fünf Akten. Monterverdi’s recitative style was influenced by Peri’s, in Euridice, although in L’Orfeo recitative is less preponderant than was usual in dramatic music at this time. The Mantuan court theologian and poet, Cherubino Ferrari wrote that: “Both poet and musician have depicted the inclinations of the heart so skilfully that it could not have been done better … The music, observing due propriety, serves the poetry so well that nothing more beautiful is to be heard anywhere”. The libretto published in Mantua in 1607 to coincide with the premiere incorporates Striggio’s ambiguous ending. The involvement in the premiere of a Florentine castrato, Giovanni Gualberto Magli, is confirmed by correspondence between the Gonzaga princes. Its score was published by Monteverdi in 1609 and again in 1615. Jacopo Peri had apparently initiated that great experiment with his … Rinuccini, whose work had been written for the festivities accompanying a Medici wedding, was obliged to alter the myth to provide a “happy ending” suitable for the occasion. ): Sternfeld, F.W. The buoyant mood continues into Act 2, with song and dance music influenced, according to Harnoncourt, by Monteverdi’s experience of French music. The Duke quickly recognised the novelty of this new form of dramatic entertainment, and its potential for bringing prestige to those prepared to sponsor it. The early baroque opera L'Orfeo, composed by Claudio Monteverdi to a libretto by Alessandro Striggio the Younger, was first performed in 1607. This array, according to music historian and analyst John Whenham, is intended to suggest that Orfeo is harnessing all the available forces of music to support his plea. It was the contemporary custom for scene shifts to take place in sight of the audience, these changes being reflected musically by changes in instrumentation, key and style. The elements from which Monteverdi constructed his first opera score—the aria, the strophic song, recitative, choruses, dances, dramatic musical interludes—were, as conductor Nikolaus Harnoncourt has pointed out, not created by him, but “he blended the entire stock of newest and older possibilities into a unity that was indeed new”. Here are words as directly expressed in music as [the pioneers of opera] wanted them expressed; here is music expressing them . In 2007 the quatercentenary of the premiere was celebrated by performances throughout the world. It is not clear at what point Striggio began his libretto for L’Orfeo, but work was evidently under way in January 1607. CD (Compact Disc) Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit Rosa del ciel の歌詞. Claudio Monteverdi - Solistenvereinigung des Berliner Rundfunks Kammerorchester Berlin*, Helmut Koch Claudio Monteverdi - Solistenvereinigung des Berliner Rundfunks Kammerorchester Berlin*, Helmut Koch - L'Orfeo The mood of contentment is abruptly ended when La messaggera enters, bringing the news that, while gathering flowers, Euridice has received a fatal snakebite. Claudio and Claudia. L’Orfeo«, 1607 am Hof des Herzogs von Mantua uraufgeführt, gilt als erste echte Oper überhaupt. Through ability and hard work Monteverdi rose to become Gonzaga’s maestro della musica (master of music) in 1601. Each act of the opera deals with a single element of the story, and each ends with a chorus. The advent of LP recordings was, as Harold C. Schonberg later wrote, an important factor in the postwar revival of interest in Renaissance and Baroque music, and from the mid-1950s recordings of L’Orfeo have been issued on many labels. Early music authority Claude Palisca believes that the two endings are not incompatible; Orfeo evades from the fury of the Bacchantes and is then rescued by Apollo. L'Orfeo, SV 318 Favola pastorale in un prologo e cinque atti Musica: Claudio Monteverdi (1567 - 1643) Testo: Sandrino Striggio Ruoli: La Musica (soprano) Orfeo (tenore) Euridice (soprano) La messaggera, Silvia (soprano) Speranza Monteverdi wrote plain and embellished versions of some arias, such as Orfeo’s “Possente spirito,” but according to Harnoncourt “it is obvious that where he did not write any embellishments he did not want any sung.”. Despite the reluctance of some major opera houses to stage L’Orfeo, it is a popular work with the leading Baroque ensembles. Having pointed out the words inscribed on the gate (“Abandon hope, all ye who enter here”), Speranza leaves. Seizing his chance, Orfeo steals the ferryman’s boat and crosses the river, entering the Underworld while a chorus of spirits reflects that nature cannot defend herself against man: “He has tamed the sea with fragile wood, and disdained the rage of the winds.”. Le sujet est tiré des Métamorphoses d'Ovide. Claudio Monteverdi's L'Orfeo, composed in 1606, is widely considered the first great opera. By having both works being operas from the late renaissance time period, we can effectively compare how each culture handles opera. The chorus of spirits sings that Orfeo, having overcome Hades, was in turn overcome by his passions. Orfeo returns with the main chorus, and sings with them of the beauties of nature. In the Underworld, Proserpina, Queen of Hades, who has been deeply affected by Orfeo’s singing, petitions King Plutone, her husband, for Euridice’s release. Carter calculates that through the doubling of roles that the text allows, a total of ten singers—three sopranos, two altos, three tenors and two basses—is required for a performance, with the soloists (except Orfeo) also forming the chorus. Among various celebrations marking the opera’s 400th anniversary in 2007 were a semi-staged performance at the Teatro Bibiena in Mantua, a full-scale production by the English Bach Festival (EBF) at the Whitehall Banqueting House in London on 7 February, and an unconventional production by Glimmerglass Opera in Cooperstown, New York, conducted by Antony Walker and directed by Christopher Alden. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Two choruses, one solemn and one jovial are repeated in reverse order around the central love-song “Rosa del ciel” (“Rose of the heavens”), followed by the shepherds’ songs of praise. Monteverdi’s instructions as the act concludes are that the violins, the organ and harpsichord become silent and that the music is taken up by the trombones, the cornetts and the regal, as the scene changes to the Underworld. Figure 1. Die DVD Claudio Monteverdi: L'Orfeo jetzt portofrei für 27,99 Euro kaufen. In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi’s day. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. Fue … The toccata and the moresca unite courtly reality with operatic illusion.”. Many recordings were issued, and the opera was increasingly staged in opera houses. Its function within the opera as a whole is to represent the “power of music”; as such it is heard at the end of Act 2, and again the beginning of Act 5, one of the earliest examples of an operatic leitmotiv. This separates Monteverdi’s work from the later opera canon, and makes each performance of L’Orfeo a uniquely individual occasion. An opera is a sung drama that is presented in a theatrical manner. Since Eitner’s first “modern” edition of L’Orfeo in 1884, and d’Indy’s performing edition 20 years later—both of which were abridged and adapted versions of the 1609 score—there have been many attempts to edit and present the work, not all of them published. … The chorus expresses its anguish: “Ah, bitter happening, ah, impious and cruel fate!” while the Messaggera castigates herself as the bearing of bad tidings (“For ever I will flee, and in a lonely cavern lead a life in keeping with my sorrow”). A shepherds’ chorus concludes that “he who sows in suffering shall reap the fruit of every grace,” before the opera ends with a vigorous moresca. Despite the five-act structure, with two sets of scene changes, it is likely that L’Orfeo conformed to the standard practice for court entertainments of that time and was played as a continuous entity, without intervals or curtain descents between acts. Composed at the point of transition from the Renaissance era to the Baroque, L’Orfeo employs all the resources then known within the art of music, with particularly daring use of polyphony. Suddenly distracted by an off-stage commotion, Orfeo looks round; immediately, the image of Euridice begins to fade. It is likely that his principal musicians, including Monteverdi, were also present at this performance. $28.69. Monteverdi y fait preuve d'innovation et de modernité dans son écriture musicale. Critic Barbara Russano Hanning writes that Striggio’s verses are less subtle than those of Rinuccini, although the structure of Striggio’s libretto is more interesting. It was written in 1607 for a court performance during the annual Carnival at Mantua. It was the contemporary custom for scene shifts to take place in sight of the audience, these changes being reflected musically by changes in instrumentation, key and style. Für die Stadt Mantua stellte sie tatsächlich den Beginn der neuen Gattung dar, jedoch war der Orpheus-Stoff bereits um 1600 von Jacopo Peri und Giulio Caccini in Florenz vertont worden. Find album reviews, stream songs, credits and award information for Claudio Monteverdi: L'Orfeo - Jordi Savall, La Capella Reial de Catalunya on AllMusic - 2015 Claudio Monteverdi, born in Cremona in 1567, was a musical prodigy who studied under Marc’Antonio Ingegneri, the maestro di cappella (head of music) at Cremona Cathedral. 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