Maybe you've wondered about whether this could work. What happens if you drop modern operatic stars into early music? Specifically, into early music as performed by a group with such an unerring way of making seventeenth century music come alive as Le Concert d'Astrée and its conductor, Emmanuelle Haïm? Would the forces clash? Would the style clash with the music, as sometimes happens when early music ensembles play Mozart or Beethoven? Not here! The performance by opera-star-of-the-moment Rolando Villazón in Monteverdi's ...
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Maybe you've wondered about whether this could work. What happens if you drop modern operatic stars into early music? Specifically, into early music as performed by a group with such an unerring way of making seventeenth century music come alive as Le Concert d'Astrée and its conductor, Emmanuelle Haïm? Would the forces clash? Would the style clash with the music, as sometimes happens when early music ensembles play Mozart or Beethoven? Not here! The performance by opera-star-of-the-moment Rolando Villazón in Monteverdi's great battle cantata of sex and death and religion (he hits all the great themes in this one), Il combattimento di Tancredi e Clorinda is not idiomatic. He finds his way around some of the thornier problems in singing Monteverdi, such as the rapid repeated notes with which the composer emphasizes certain rhetorical ideas. He is, however, extraordinarily moving. Il combattimento is recounted primarily in the voice of a Testo or narrator, sung and fully inhabited by Villazón. He creates...
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Add this copy of Monteverdi: II Combattimento to cart. $3.00, good condition, Sold by Bookmans rated 4.0 out of 5 stars, ships from Tucson, AZ, UNITED STATES, published 2007 by Erato Disques.
