(Classical, Baroque) Lamento d’Arianna: C.Monteverdi, S. Bonini, F. A. Costa & A. Il Verso (The Consort of Musicke; Kirkby, Tubb, Holden, Nichols, Cornwell, King, Thomas, Wistreich, Rooley) - 2011, MP3 (tracks) 320 kbps


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Lamento d’Arianna: C.Monteverdi, S. Bonini, F. A. Costa & A. Il Verso (The Consort of Musicke)
Жанр: Classical, Baroque
Год издания: 2011
Издатель (лейбл): Deutsche Harmonia Mundi
Номер по каталогу: DHM 88697 97450 2-3
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 73:05
Источник: lossless
Наличие сканов в содержимом раздачи: да
Треклист:
Claudio Monteverdi (1567-1643)
01. Lamento d’Arianna a voce sola
02. Lamento d’Arianna a 5
Severo Bonini (1582-1663)
03. Lamento d’Arianna in stile recitativo
Francesco Antonio Costa (16th/17th cent.)
04. Lamento d’Arianna a voce sola
Antonio Il Verso (?1560-1621)
05. Lasciatemi morire a 5
Claudio Monteverdi
06. Pianto della Madonna a voce sola
Исполнители:
The Consort of Musicke:
Sopran: Emma Kirkby, Evelyn Tubb, Poppy Holden
Alt: Mery Nichols
Tenor: Joseph Cornwell, Andrew King
Bass: David Thomas, Richard Wistreich
Anthony Rooley

Доп. информация:

L'Arianna (English: Ariadne) (SV 291), composed in 1607–08, was the second opera by the Italian composer Claudio Monteverdi. One of the earliest of the Baroque period and indeed of any operas, it was first performed on 28 May 1608, as part of the musical festivities for a royal wedding at the court of Duke Vincenzo Gonzaga in Mantua. All the music is lost apart from the extended recitative known as "Lamento d'Arianna" ("Ariadne's Lament"). The libretto, which survives complete, was written in eight scenes by Ottavio Rinuccini, who used Ovid's Heroides and other classical sources to relate the story of Ariadne's abandonment by Theseus on the island of Naxos and her subsequent elevation as bride to the god Bacchus.
The opera was composed under severe pressure of time; the composer later said that the effort of creating it almost killed him. The initial performance, produced with lavish and innovative special effects, was highly praised, and the work was equally well received in Venice when it was revived under the composer's direction in 1640 as the inaugural work for the Teatro San Moisè.
Rinuccini's libretto is available in a number of editions. The music of the "Lamento" survives because it was published by Monteverdi, in several different versions, independently from the opera. This fragment became a highly influential musical work and was widely imitated; the "expressive lament" became an integral feature of Italian opera for much of the 17th century. In recent years the "Lamento" has become popular as a concert and recital piece and has been frequently recorded.
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