細やかな分析と丹念な演奏で描き出すモンテヴェルディの音楽に込められた力強い人間のドラマ!

アレッサンドリーニは過去30年来、モンテヴェルディのマドリガーレを重要なレパートリーとして演奏してきました。ルネサンス期から連綿と連なるアカペラによるポリフォニーはモンテヴェルディの手によってさらなる偉大な発展を遂げ、オペラへと進化していきます。第3巻のマドリガーレは1592年、モンテヴェルディ25歳のときの作品で、さまざまな苦悩に打ち勝たんとする非常に人間的なドラマを内包した力強い音楽となっています。
コンチェルト・イタリアーノの演奏は分析的でありながら非常に繊細。正確なイントネーションによる歌唱で人間の感情を豊かに表現しきっています。言葉の裏から滲み出る音楽の核心、魂の部分を見事に美しく映し出した名演!
キングインターナショナル

発売・販売元 提供資料 （2020/10/30）

Prior to the groups pathbreaking, operatically dramatic performances of High Baroque music, Rinaldo Alessandrini and his Concerto Italiano made several recordings of Monteverdis madrigals. The Book III set of 1592, however, is approached by the group for the first time here. The group brings to it two more decades of experience in the gestures and spirit of Baroque opera. Book III is ostensibly early Monteverdi, all a cappella, with a regular complement of voices, but the composer, by this time, had gotten wind of the new developments that would lead to opera, and his innovative ideas peek through the basic madrigal texture all the way through this set. Many opening lines, such as that in the second madrigal, O come e gran martire, seem as though they are about to launch into operatic declamation but then are polyphonically developed. Monteverdi could still write a densely melancholic and chromatic madrigal in the late 16th century style. The seconda prattica at this point is a hint in the air rather than a full-grown breeze, but more than any of the other books of Monteverdi madrigals, this one marks a turning point. Alessandrinis singers capture the balances perfectly, with vocal individuality rising out of the texture but never overdoing the passionate and often erotic emotions of the texts. This is an excellent tour through a point of key musical transformation.

Rovi