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Filiberto Laurenzi : Airs de "La finta savia". Cecchi Fedi, Vistoli, Sezione Aurea, Pantieri.
Format : 1 CD
Total Time : 00:58:13

Recording : 30/11-02/12/2016
Location : Longiano
Country : Italie
Sound : Stereo

Label : Brilliant
Catalog No. : BRIL95685
EAN : 5028421956855
Price Code : DM009A

Publishing Year : 2018
Release Date : 04/07/2018

Genre : Classical
Filiberto Laurenzi (1620-1659)
da Concerti e arie a una, due e tre voci, con una Serenata à 5. e doi Violini, e Chitarrone
Così mi lasci ingrato
Oh, cara libertà
Perché cruda
Arie a una voce per cantarsi nel clavicembalo ò tiorba, extrait de "Dramma della Finta Savia"
Se mi coglie (Aretusa)
Stolta Melanto (Aretusa)
Oh, come come in fretta (Numitore)
Sovra il dorso di Giove (Aretusa)
Nuove leggi e nuove emende (Corbacchio)
Tant’armi inventate (Corbacchio)

Marco Uccellini (1603-1680)
Aria ottava, op 4 pour 2 violons et basse continue

Giovanni Ceresini (1584-?1659)
"Al desir troppo ingordo", extrait de Madrigali concertati a due, tre e quattro voci con il basso continuo

Claudio Monteverdi (1567-1643)
"Pur ti miro", extrait de "L'Incoronazione di Poppea"

Domenico Gabrielli (1651-1690)
Ricercare en ré mineur pour violoncelle seul

Domenico Ferrabosco (1513-1574)
"Io mi son giovinetta" Madrigal à 4 voix

Elena Cecchi Fedi, soprano
Carlo Vistoli, contreténor
Ensemble Sezione Aurea
Luca Giardini, violon
Simona Cavuoto, violon
Giangiacomo Pinardi, théorbe, guitare baroque
Mauro Valli, violoncelle
Luca Bandini, violone, violoncelle
Antonio Bianchi, percussion
Sebastiano Severi, violoncelle
Filippo Pantieri, clavecin, direction

On sait aujourd’hui que le dernier opéra de Monteverdi, peut-être le plus fameux, le Couronnement de Poppée, est une œuvre collective. Le grand compositeur, âgé de 76 ans, malade et fatigué, s’est entouré de talentueux jeunes collaborateurs pour ce chant du cygne de 1643, dont le très jeune Laurenzi, né en 1620, qui publiait déjà deux ans auparavant des œuvres vocales de 1 à 3 voix avec continuo et instruments. Un autre opéra collectif impliquant Laurenzi et 5 autres compositeurs, La Finta Savia, fut également donné à Venise lors du Carnaval de 1643. Le célébrissime duo final de la « Poppée », « Pur te miro, pur te godo « inclus dans cet enregistrement, pourrait très bien être l’œuvre du jeune Laurenzi, dont le talent précoce qui ne le cède en rien à celui du vieux maître éclate dans tous les airs interprétés ici avec talent par la soprano Elena Cecchi Fedi et le contreténor alto Carlo Vistoli, soutenus par un excellent ensemble d’instrumentistes. Quelques pièces instrumentales dues à d’autres compositeurs originaires de Romagne constituent les intermèdes de ce très agréable enregistrement. (Jean-Michel Babin-Goasdoué)

The torments of love conveyed by a contemporary of Monteverdi in the context of an operatic celebration of 17th-century Venice. L’Incoronazione di Poppea is renowned not only as Monteverdi’s last work but also his most affecting. Almost equally famous, however, is the historical oddity that its sublime conclusion is almost certainly not his work. Sung as Nero and his new wife drift off in amoral bliss, ‘Pur ti miro’ has been attributed to various of Monteverdi’s Venetian contemporaries. However, among the most plausible candidates is Filiberto Laurenzi. Very little is known of his life except for his encounter with the soprano Anna Renzi, considered the first diva in the history of opera. She not only studied under Laurenzi, but also let him manage her career, following him when he left Rome for Venice. The duet is featured here alongside excerpts from an entertainment conceived when the genre of opera was still in its infancy. Like Poppea, La finta savia was first performed during the 1643 Venetian carnival season. It may be counted an early example of the pasticcio genre, in which a dramatic piece is the work of several hands, among them in this case Leardini, Pozzi, Ferrari, Giovan Battista Crivelli and Tarquinio Merula alongside Laurenzi. This recording includes five virtuoso arias making use of dance rhythms, some of them intimate in atmosphere and others that are more brilliant, such as ‘Tant’armi inventate’. These operatic excerpts are complemented by arias from a 1641 collection dedicated to Laurenzi’s work. The highlight is probably ‘Così mi lasci ingrato’, a deeply affecting lament for lost love on words by Ottaviano Castelli. There also instrumental works and transcriptions by three composers who also left Laurenzi’s native Romagna region to seek fame and fortune elsewhere, notably Venice (though Laurenzi himself probably died in Rome): Marco Uccellini, Domenico Gabrielli and Domenico Ferrabosco. Ensemble Sezione Aurea is a mixed ensemble of voices and instruments founded in 2013. It gathers together some of the finest European baroque musicians active on the concert and recording scene.

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