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Daniel Stepner - Monteverdi: L'Orfeo (2008)

Daniel Stepner - Monteverdi: L'Orfeo (2008)
  • Title: Monteverdi: L'Orfeo
  • Year Of Release: 2008
  • Label: Centaur Records, Inc.
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 1:46:05
  • Total Size: 418 MB
  • WebSite:
Tracklist:

Disc 1

1. Claudio Monteverdi – Toccata (01:42)
2. Claudio Monteverdi – Prologo: Dal mio Permesso amato a voi ne vengo (La Musica) (05:59)
3. Claudio Monteverdi – Act I: In questo lieto e fortunato giorno (Shepherd 1) (01:36)
4. Claudio Monteverdi – Act I: Vieni Imeneo, deh vieni, e la tua face ardente (Chorus, Nymph, Shepherds 1, 2 and 3) (03:46)
5. Claudio Monteverdi – Act I: Rosa del ciel, vita del mondo e degna (Orfeo) (02:02)
6. Claudio Monteverdi – Act I: Io non diro qual sia nel tuo gioir (Euridice, Chorus, Nymph, Shepherd 1, 2 and 3) (02:43)
7. Claudio Monteverdi – Act I: Ma s'il nostro gioir dal ciel deriva (Shepherds 1, 2 and 3, Nymph, Chorus) (04:03)
8. Claudio Monteverdi – Act I: Ecco Orfeo, cui pur dianzi (Chorus) (00:46)
9. Claudio Monteverdi – Act II: Ecco pur ch'a voi ritorno (Orfeo, Shepherd 1) (01:33)
10. Claudio Monteverdi – Act II: In questo prato adorno ogni selvaggio Nume (Shepherd 2, Chorus) (01:38)
11. Claudio Monteverdi – Act II: Vi ricorda, o boschi amorosi (Orfeo, Shepherd 1) (03:00)
12. Claudio Monteverdi – Act II: Ahi, caso acerbo! (Messenger, Shepherd 3, Shepherd 2, Orfeo) (06:54)
13. Claudio Monteverdi – Act II: Tu sei morta, mia vita, ed io respiro? (Orfeo) (02:32)
14. Claudio Monteverdi – Act II: Ahi, caso acerbo! (Chorus, Messenger, Shepherds 1 and 3, Shepherd 2, Chorus) (09:48)

Disc 2

1. Claudio Monteverdi – Act III: Scorto da te, mio nume (Orfeo) (02:07)
2. Claudio Monteverdi – Act III: Ecco l'atra palude, ecco il nochiero (Hope, Orfeo) (03:19)
3. Claudio Monteverdi – Act III: O tu, ch'innanzi mort'a queste rive (Caronte) (01:37)
4. Claudio Monteverdi – Act III: Possente spirto, e formidabil nume (Orfeo) (10:17)
5. Claudio Monteverdi – Act III: Ben mi lusinga alquanto dilettandomi il core (Caronte, Orfeo) (04:38)
6. Claudio Monteverdi – Act III: Nulla impressa per uom si tenta invano (Chorus of the Spirits of Hell) (02:44)
7. Claudio Monteverdi – Act IV: Signor, quell'infelice (Proserpina) (03:01)
8. Claudio Monteverdi – Act IV: Benche severo ed immutabil fato (Plutone, Chorus of Spirits, Prosepina) (04:37)
9. Claudio Monteverdi – Act IV: Pietade, oggi, e amore (Chorus, Spirit) (00:34)
10. Claudio Monteverdi – Act IV: Qual onor di te fia degno (Orfeo, First Spirit) (03:21)
11. Claudio Monteverdi – Act IV: Ahi, vista troppo dolce e troppo amara! (Euridice, Spirit, Orfeo) (02:02)
12. Claudio Monteverdi – Act IV: E la virtute un raggio (Chorus) (03:15)
13. Claudio Monteverdi – Act V: Questi campi di Tracia (Orfeo, Echo) (08:12)
14. Claudio Monteverdi – Act V: Perch'a lo sdegno e al dolor in preda (Apollo, Orfeo) (04:34)
15. Claudio Monteverdi – Act V: Saliam cantand'al Cielo (Apollo, Orfeo) (01:04)
16. Claudio Monteverdi – Act V: Vanne Orfeo, felice appieno (Chorus) (01:05)
17. Claudio Monteverdi – Act V: Moresca (01:18)

This recording of Orfeo by performers from the Massachusetts-based Aston Magna Festival has many things to recommend it. Primary among its virtues is the dramatic urgency of the performance. The protagonist's dilemma is presented with heartbreaking poignancy; characteristic is the intensity of the Messenger's announcement of the news of Eurydice's death, which is delivered and received with stricken anguish. The singers are consistently fine -- there are no weak links in the cast. Frank Kelley's Orfeo is sweet-toned and persuasive, even though his coloratura in parts of "Possente spirto" is a little tentative. Soprano Laurie Monahan makes an especially strong impression, as do Roberta Anderson, Deborah Rentz-Moore, Sharon Baker, David Ripley, and Robert Honeysucker. Daniel Stepner leads the ensemble in a colorful and well-paced performance, and the variety of accompaniments for the recitatives is especially inventive. The ornamentation throughout is lively and appropriate. The recording's weaknesses lie in its details. For example, the echoing instruments sometimes don't convincingly replicate the pacing and articulation of the phrases they should be echoing. Intonation is a problem often enough to be distracting, particularly with the recorders. But it is generally good enough that one has the impression that given the luxury of a few more takes, the performers could have nailed the pitches and made this a truly outstanding version of the opera. The sound is generally good, but the bass is a little heavy.


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