There are solo parts for four shepherds and three spirits. Orfeo returns with the main chorus, and sings with them of the beauties of nature. It is different from other types of musical drama in that it is primarily sung; the action of the drama is conveyed through singing rather than through spoken dialogue. 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. Read the libretto, translated to english, of the Italian opera L' Orfeo by Claudio Monteverdi on Opera-Arias.com. It refers to “that little priest who performed the role of Euridice in the Most Serene Prince’s Orfeo”. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero’s 1930 complete edition which sticks closely to Monteverdi’s 1609 original. Partitura a fost publicată la Veneția în a Our making of a contemporary version, with its daring artistic choices, fully fits with the intention of Claudio Monteverdi. During the early seventeenth century, the traditional intermedio—a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or “opera.” Monteverdi’s L’Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. Musicologist Gary Tomlinson remarks on the many similarities between Striggio’s and Rinuccini’s texts, noting that some of the speeches in L’Orfeo “correspond closely in content and even in locution to their counterparts in L’Euridice”. 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”). In Striggio’s 1607 libretto, Orfeo’s Act 5 soliloquy is interrupted, not by Apollo’s appearance but by a chorus of maenads or Bacchantes—wild, drunken women—who sing of the “divine fury” of their master, the god Bacchus. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. The importance of L’Orfeo is not that it was the first work of its kind, but that it was the first attempt to apply the full resources of the art of music, as then evolved, to the nascent genre of opera. The mood of contentment is abruptly ended when La messaggera enters, bringing the news that, while gathering flowers, Euridice has received a fatal snakebite. After training in singing, strings playing and composition, Monteverdi worked as a musician in Verona and Milan until, in 1590 or 1591, he secured a post assuonatore di vivuola (viola player) at Duke Vincenzo Gonzaga’s court at Mantua. The pastoral world of the fields of Thrace is represented by the strings, harpsichords, harp, organs, recorders and chitarroni. Moved by her pleas, Plutone agrees on the condition that, as he leads Euridice towards the world, Orfeo must not look back. 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 fro… Audio CD. In the London Saturday Review, music critic Dyneley Hussey called the occasion “one of the most important events of recent years”; the production had “indicated at once Monteverdi’s claim to rank among the great geniuses who have written dramatic music”. 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”. Claudio Monteverdi: L'Orfeo MONTEVERDI 4.4 out of 5 stars 6 Audio CD $26.69 Only 4 left in stock - order soon. A letter published at Mantua in 1612 records that the distinguished tenor and composer Francesco Rasi took part, and it is generally assumed that he sang the title role. Through ability and hard work Monteverdi rose to become Gonzaga’s maestro della musica (master of music) in 1601. L'Orfeo is een opera van Claudio Monteverdi, op een libretto van Alessandro Striggio, en is gebaseerd op de mythe van Orpheus en Eurydice, zoals terug te vinden in … . After the publication of the L’Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Having pointed out the words inscribed on the gate (“Abandon hope, all ye who enter here”), Speranza leaves. Claudio Monteverdi, la voix des émotions Si rares sont les opéras de Claudio Monteverdi à nous être parvenus, on considère aujourd’hui le compositeur comme l’inventeur du théâtre lyrique et de l… It was written in 1607 for a court performance during the annual Carnival at Mantua. Carter’s suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza. The continuo forces include two harpsichords (duoi gravicembani), a double harp (arpa doppia), two or three chitarroni, two pipe organs (organi di legno), three bass viola da gamba, and a regal or small reed organ. With Montserrat Figueras, Furio Zanasi, Arianna Savall, Sara Mingardo. The distinguished writer Romain Rolland, who was present, commended d’Indy for bringing the opera to life and returning it “to the beauty it once had, freeing it from the clumsy restorations which have disfigured it”—presumably a reference to Eitner’s edition. L'Orfeo Claudio Monteverdi (作曲), Rene Jacobs (指揮), Concerto Vocale (オーケストラ), Laurence Dale (演奏), Efrat Ben-Nun (演奏), Jennifer Larmore (演奏), Bernarda Fink (演奏), Andreas Scholl (演奏), Nicolas Rivenq (演奏) & 6 その他 形式: CD 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. … 1607 First Perf ormance. 4.0 out of 5 stars 21. Claudio Monteverdi (1567–1643) wrote several works for the stage between 1604 and 1643, including ten in the then-emerging opera genre. On 6 October 1600, while visiting Florence for the wedding of Maria de’ Medici to King Henry IV of France, Duke Vincenzo attended a production of Peri’s Euridice. . With links to other information and other operas. In Claudio Monteverdi: The Gonzaga court …it was his first opera, Orfeo, performed in 1607, that finally established him as a composer of large-scale music rather than of exquisite miniature works. While the honour of the first ever opera goes to Jacopo Peri’s Dafne, and the earliest surviving opera is Euridice (also by Peri), L’Orfeo has the honour of being the earliest surviving opera that is still regularly performed today. After the Second World War most new editions sought authenticity through the use of period instruments. These could differ sharply from place to place. Within this general ordering, specific instruments or combinations are used to accompany some of the main characters—Orpheus by harp and organ, shepherds by harpsichord and chitarrone, the Underworld gods by trombones and regal. Orfeo returns with the main chorus, and sings with them of the beauties of nature. It is likely that his principal musicians, including Monteverdi, were also present at this performance. $21.99. L’Orfeo (SV 318), sometimes called La favola d’Orfeo, is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. An opera is a sung drama that is presented in a theatrical manner. (1643). In 1949, for the recording of the complete opera by the Berlin Radio Orchestra under Helmut Koch, the new medium of long-playing records (LPs) was used. The chorus of spirits sings that Orfeo, having overcome Hades, was in turn overcome by his passions. But as he sings a note of doubt creeps in: “Who will assure me that she is following?” Perhaps Plutone, driven by envy, has imposed the condition through spite? 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. 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”. Sie beginnt nicht nur mit einer Selbstbeschreibung der Musik, sondern handelt auch von Musik. In 2007 the quatercentenary of the premiere was celebrated by performances throughout the world. L'Orfeo de Monteverdi est l'un des premiers opéras. The first recording of L’Orfeo was issued in 1939, a freely adapted version of Monteverdi’s music by Giacomo Benvenuti, given by the orchestra of La Scala Milan conducted by Ferrucio Calusio. In 1599, Monteverdi married his wife Claudia Cattaneo, who was a court singer. L’Orfeo is, in Redlich’s analysis, the product of two musical epochs. The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer’s general instructions but were given considerable freedom to improvise. An off-stage echo repeats his final phrases. The three Scala performances resulted in a financial disaster, and the opera was not seen again in Britain for 35 years. 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. Die CD Claudio Monteverdi: L'Orfeo jetzt probehören und portofrei für 24,99 Euro kaufen. The ritornello is repeated in shortened form between each of the prologue’s five verses, and in full after the final verse. Avec cet opéra bouffe, une satire de la mythologie, sérieuse et triviale à la fois, impertinente et caustique, Monteverdi signe non seulement le premier chef d' oeuvre d'un genre nouveau, mais aussi son immortel joyau où la musique triomphe. 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. Die DVD Claudio Monteverdi: L'Orfeo jetzt portofrei für 19,99 Euro kaufen. There is some evidence of performances shortly after Monteverdi’s death: in Geneva in 1643, and in Paris, at the Louvre, in 1647. You have already been introduced to Claudio Monteverdi, whose music straddles the late Renaissance and early Baroque. Orfeo attempts to persuade Caronte by singing a flattering song to him (“Mighty spirit and powerful divinity”), but the ferryman is unmoved. 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.”. When Monteverdi wrote the music for L’Orfeo he had a thorough grounding in theatrical music. Monteverdi: L'Orfeo / Act 1 - "In questo lieto e fortunato giorno" - "Vieni, Imeneo" - "Muse, onor di Parnasso" by Anna Reynolds & Ian Partridge & The Monteverdi Choir & Camerata Accademica Hamburg & Hamburger Bläserkreis für alte Musik & Jürgen Jürgens The opera was introduced to London, in d’Indy’s edition, when it was sung to piano accompaniment at the Institut Français on 8 March 1924. 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. 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.” 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. 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”). La fábula de Orfeo (título original en italiano: La favola d'Orfeo) es una ópera compuesta por un prólogo y cinco actos con música de Claudio Monteverdi y libreto en italiano de Alessandro Striggio el Joven. Among more recent recordings, that of Emmanuelle Haïm in 2004 has been praised for its dramatic effect. However, Monteverdi’s score published in Venice in 1609 by Ricciardo Amadino shows an entirely different resolution, with Orpheus transported to the heavens through the intervention of Apollo. The Bacchantes scene was a substitution; Monteverdi’s intentions were restored when this constraint was removed. Towards the end of the 16th century innovative Florentine musicians were developing the intermedio—a long-established form of musical interlude inserted between the acts of spoken dramas—into increasingly elaborate forms. 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. “Correspondence relating to the early Mantuan performances” in Whenham, John (ed. Historical Background 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. Otherwise, he says, “I shall remain with thee in the company of death.” He departs, and the chorus resumes its lament. The first British staged performance, with only small cuts, was given by the Oxford University Operatic Society on 7 December 1925, using an edition prepared for the event by Jack Westrup. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. . In 1881 a truncated version of the L’Orfeo score, intended for study rather than performance, was published in Berlin by Robert Eitner. These last two works were the first of many musical representations of the Orpheus myth as recounted in Ovid’s Metamorphoses, and as such were direct precursors of Monteverdi’s L’Orfeo. Read more. 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