La Compagnia del Madrigale - Orlando furioso: Madrigali sul poema di Ludovico Ariosto (2011)
BAND/ARTIST: La Compagnia del Madrigale
- Title: Orlando furioso: Madrigali sul poema di Ludovico Ariosto
- Year Of Release: 2011
- Label: Arcana
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:09:50
- Total Size: 357 mb
- WebSite: Album Preview
Tracklist
01. Le donne, i cavallier, l'arme, gli amori
02. Pensier (dicea), che 'l cor m'agghiacci et ardi
03. La verginella è simile alla rosa – Ma non sì tosto dal materno stelo
04. Vaghi boschetti di soavi allori
05. Tra le purpuree rose e i bianchi gigli
06. Non tanto il bel palazzo è sì eccellente
07. Era il bel viso suo, quale esser suole – E ne la face de' begli occhi accende
08. Liete piante, verdi erbe, limpide acque
09. Queste non son più lagrime che fuore
10. Queste non son più lagrime che fuore
11. Queste non son più lagrime che fuore
12. Questi ch'indizio fan del mio tormento
13. Non rumor di tamburi o suon di trombe
14. Se ben non veggon gli occhi ció che vede
15. Gli sdegni, le repulse e finalmente
16. Di qua di la va le noiose piume
17. Deh perché voglio anco di me dolermi?-Dunque fia ver (dicea) che convenga
18. Chi salirà per me, madonna, in cielo
19. Dunque baciar sí belle e dolce labbia – Se tu m'occidi, è ben ragion che deggi
20. Scarpello si vedrà di piombo o lima
21. Come la notte ogni fiammella è viva
22. Or se mi mostra la mia carta il vero – Sento venir per allegrezza un tuono
Italian ensemble La Compagnia del Madrigale tackles this lengthy work with a wall of sound and beautiful, closely set voices. These madrigals form a song cycle that is primarily based on the third edition of the poem "Orlando Furioso," but the overall work is still a patchwork of a variety of authors, as well as Ariosto's own insertions and reworkings. There is an emphasis of the music and of smooth, lyrical, legato singing over the text (possibly partly the result of the recording). Their voices blend beautifully, which is a clear sign that the right musicians have found each other and chosen the right repertoire for themselves. However, one feels that the singers need to get more into the emotion of the text, which would bring out the diction more clearly: one can hear this from the beginning track of the album, "Le donne, i cavalier, l'arme, gli amori." This is certainly a point for debate, for while Orlando is most certainly not 19th century opera with its emphasis on strong, individual emotion, there is a certain energy that needs to be brought out more fully. That is, La Compagnia needs to get more into the meaning of the text and into the dynamic contrasts. When there is energy, such as in the very up-tempo "Non tanto il bel palazzo," it is engaging to the listener, for the voices play and intertwine in a showcase of what is best about music from this period. Throughout the album, it is easiest to follow the text in the highest soprano line, so perhaps the ensemble has made a musical decision to emphasize the treble. La Compagnia usually takes the repeats in the music, which therefore emphasizes certain phrases or themes. Certainly, the ensemble sings quite well in synchronicity, as one can hear the voices die out together in "Queste non son più lagrime che fuore" (the Tromboncino version) and enter beautifully, as in, "Chi salirà per me, madonna, in cielo." The music of Orlando just seems to evolve and unfold; unfortunately, it tends to sound alike and lacks in distinctive moods or necessary characters for each madrigal. La Compagnia is certainly a talented ensemble. It may simply need to capitalize on the second word of the title, "furioso," to bring more vigor into such a brave performance of this masterwork.
01. Le donne, i cavallier, l'arme, gli amori
02. Pensier (dicea), che 'l cor m'agghiacci et ardi
03. La verginella è simile alla rosa – Ma non sì tosto dal materno stelo
04. Vaghi boschetti di soavi allori
05. Tra le purpuree rose e i bianchi gigli
06. Non tanto il bel palazzo è sì eccellente
07. Era il bel viso suo, quale esser suole – E ne la face de' begli occhi accende
08. Liete piante, verdi erbe, limpide acque
09. Queste non son più lagrime che fuore
10. Queste non son più lagrime che fuore
11. Queste non son più lagrime che fuore
12. Questi ch'indizio fan del mio tormento
13. Non rumor di tamburi o suon di trombe
14. Se ben non veggon gli occhi ció che vede
15. Gli sdegni, le repulse e finalmente
16. Di qua di la va le noiose piume
17. Deh perché voglio anco di me dolermi?-Dunque fia ver (dicea) che convenga
18. Chi salirà per me, madonna, in cielo
19. Dunque baciar sí belle e dolce labbia – Se tu m'occidi, è ben ragion che deggi
20. Scarpello si vedrà di piombo o lima
21. Come la notte ogni fiammella è viva
22. Or se mi mostra la mia carta il vero – Sento venir per allegrezza un tuono
Italian ensemble La Compagnia del Madrigale tackles this lengthy work with a wall of sound and beautiful, closely set voices. These madrigals form a song cycle that is primarily based on the third edition of the poem "Orlando Furioso," but the overall work is still a patchwork of a variety of authors, as well as Ariosto's own insertions and reworkings. There is an emphasis of the music and of smooth, lyrical, legato singing over the text (possibly partly the result of the recording). Their voices blend beautifully, which is a clear sign that the right musicians have found each other and chosen the right repertoire for themselves. However, one feels that the singers need to get more into the emotion of the text, which would bring out the diction more clearly: one can hear this from the beginning track of the album, "Le donne, i cavalier, l'arme, gli amori." This is certainly a point for debate, for while Orlando is most certainly not 19th century opera with its emphasis on strong, individual emotion, there is a certain energy that needs to be brought out more fully. That is, La Compagnia needs to get more into the meaning of the text and into the dynamic contrasts. When there is energy, such as in the very up-tempo "Non tanto il bel palazzo," it is engaging to the listener, for the voices play and intertwine in a showcase of what is best about music from this period. Throughout the album, it is easiest to follow the text in the highest soprano line, so perhaps the ensemble has made a musical decision to emphasize the treble. La Compagnia usually takes the repeats in the music, which therefore emphasizes certain phrases or themes. Certainly, the ensemble sings quite well in synchronicity, as one can hear the voices die out together in "Queste non son più lagrime che fuore" (the Tromboncino version) and enter beautifully, as in, "Chi salirà per me, madonna, in cielo." The music of Orlando just seems to evolve and unfold; unfortunately, it tends to sound alike and lacks in distinctive moods or necessary characters for each madrigal. La Compagnia is certainly a talented ensemble. It may simply need to capitalize on the second word of the title, "furioso," to bring more vigor into such a brave performance of this masterwork.
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