La Voce di Orfeo

Editorial Reviews

All Music Guide - James Manheim
Lovers of the age of early opera may go scurrying for the reference books or sites when they see the unfamiliar name of Francesco Rasi on this innovative release from the consistently hip French label Naïve. The solution to the puzzlement is that Rasi was primarily a singer, not a composer, although some madrigals attributed to him from a 1610 collection survive and are recorded here. Musically Rasi was closely involved in the landmarks of opera's first decade, appearing in Jacopo Peri's "Euridice" 1600, the starting point if you have to pick one out, and playing the lead in the premiere performance of Monteverdi's "L'Orfeo" in Mantua in 1607. His personal career was more...
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Editorial Reviews

All Music Guide - James Manheim
Lovers of the age of early opera may go scurrying for the reference books or sites when they see the unfamiliar name of Francesco Rasi on this innovative release from the consistently hip French label Naïve. The solution to the puzzlement is that Rasi was primarily a singer, not a composer, although some madrigals attributed to him from a 1610 collection survive and are recorded here. Musically Rasi was closely involved in the landmarks of opera's first decade, appearing in Jacopo Peri's "Euridice" 1600, the starting point if you have to pick one out, and playing the lead in the premiere performance of Monteverdi's "L'Orfeo" in Mantua in 1607. His personal career was more like Carlo Gesualdo's, only worse; he and the young wife of his stepmother's attendant strangled the stepmother in the course of a robbery that netted only a few coins, six gold rings, and some silverware. Music-loving patrons protected him, and he was able to keep performing although he was sentenced to death by hanging and quartering. The program is not so much a historical reconstruction, although perhaps a celebrated singer at an Italian ducal court around 1610 could have performed a selection like this. Instead it is thematic, and as such it's quite useful for those who want to get deeper into the roots of early opera and the Monteverdi style. The pieces are madgrials and operatic excerpts, accompanied by a small string group, and the music consists of the free declamation known as monody. The texts of the solo madrigals of the period can seem very conventional to the casual listener, with their endless pastoral parade of shepherds and shepherdesses pining away, but baritone Furio Zanasi and the Italian early music trio La Chimera try to break the conventions down and bring them alive. The album consists of three sections, "Amor che deggio far," dealing with desire; "Vedrò il mio sol," which is about Orpheus and relates to the album's title; and "Vattene por crudel," pertaining to the torments of impossible love. Along the way are plenty of unusual pieces that leave the listener more attuned to the ways composers of the time heard Italian pastoral poetry. Note the last piece, Antonio Brunelli's "Non havea Febo ancora," for which there also exists a somber setting by Monteverdi. This one is almost breezy, and annotator Philippe Canguilhem notes are in French and English suggests that with it Rasi might have been thumbing his nose at the prosecution team. At any rate, this is a fine collection illuminating early monody and the life of the mighty courts that gave it birth.
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Product Details

  • Release Date: 6/30/2009
  • Label: Naive
  • UPC: 822186089255
  • Catalog Number: 8925
  • Sales rank: 253,239

Tracks

Disc 1
  1. 1 Sinfonia (Egüz) / Io son amante di un crin aurato (Ferrari) - Various Composers & Benedetto Ferrari (4:29)
  2. 2 Filli mia, Filli dolce - Francesco Rasi & Eduardo Eguez (2:02)
  3. 3 Amor l'ali m'impenna, madrigal - Torquato Tasso & Eduardo Eguez (1:36)
  4. 4 Vorrei baciarti, o Filli, for voice & continuo (Le musiche, Book 1) - Sigismondo d'India & Eduardo Eguez (1:54)
  5. 5 Passamezzo for ensemble - Eduardo Eguez & Eduardo Eguez (1:32)
  6. 6 Dolcissimo sospiro, for voice & continuo - Giulio Caccini & Eduardo Eguez (2:16)
  7. 7 Dalla porta d'oriente, for voice & continuo - Giulio Caccini & Eduardo Eguez (3:56)
  8. 8 Sinfonia for ensemble - Eduardo Eguez & Eduardo Eguez (1:46)
  9. 9 La favola d'Orfeo, opera, SV 318: Rosa del ciel - Claudio Monteverdi & Eduardo Eguez (2:17)
  10. 10 È si lieto il mio core, madrigal - Francesco Rasi & Francesco Rasi (1:54)
  11. 11 In morte di Madonna, song - Marc' Antonio Gondi & Eduardo Eguez (1:00)
  12. 12 Dove, misero, mai - Francesco Rasi & Gabriello Chiabrera (1:13)
  13. 13 La favola d'Orfeo, opera, SV 318: Solo di arpa - Claudio Monteverdi & Eduardo Eguez (1:10)
  14. 14 Cara Mia Cetra Andianne for voice solo - Sigismondo d'India & Eduardo Eguez (1:50)
  15. 15 Vedro'l mio sol - Giulio Caccini & Eduardo Eguez (3:53)
  16. 16 Un guardo ohime ch'io moro, madrigal - Francesco Rasi & Francesco Rasi (1:47)
  17. 17 Che vegg'io ohimè, madrigal - Sigismondo d'India & Sigismondo d'India (7:13)
  18. 18 Sinfonia for ensemble - Eduardo Eguez & Eduardo Eguez (1:53)
  19. 19 Et è pur dunque vero, madrigal for soprano (from Scherzi musicali), SV 250 - Claudio Monteverdi & Eduardo Eguez (5:54)
  20. 20 Sfogava con le stelle, madrigal - Ottavio Rinuccini & Eduardo Eguez (1:03)
  21. 21 Sovente, allor (from Le Musiche, 1609) Piero - Sigismondo d'India & Eduardo Eguez (3:36)
  22. 22 Mille regretz, diminution for lute after Josquin - Eduardo Eguez & Eduardo Eguez (1:54)
  23. 23 Porto celato il mio nobil pensiero, madrigal - Anonymous, Italian & Eduardo Eguez (3:44)
  24. 24 Non havea Febo ancora, aria - Antonio Brunelli & Eduardo Eguez (2:28)
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Album Credits

Performance Credits
Furio Zanasi Primary Artist
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