{"id":8634,"date":"2021-09-07T12:11:15","date_gmt":"2021-09-07T10:11:15","guid":{"rendered":"https:\/\/cappellamediterranea.com\/post-discographie\/monteverdi-lorfeo\/"},"modified":"2023-09-18T15:00:05","modified_gmt":"2023-09-18T13:00:05","slug":"monteverdi-lorfeo","status":"publish","type":"post-discographie","link":"https:\/\/cappellamediterranea.com\/en\/post-discographie\/monteverdi-lorfeo\/","title":{"rendered":"Monteverdi, L’Orfeo"},"content":{"rendered":"\n
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“Leonardo Garc\u00eda Alarc\u00f3n proposes a thoughtful and highly theatrical approach to Monteverdi’s L’Orfeo (1607). Despite the detailed list of instruments published by the composer in the score, the conductor still has many questions to answer. Garc\u00eda Alarc\u00f3n’s approach is to customise each moment with a variety of colours and textures, carefully contrasting the action on earth \u2013 the dancing and revelry of Orpheus and Eurydice’s wedding \u2013 with scenes in the darkness, where the hero has gone to beg for the return of his wife after her tragic and untimely death.”<\/em><\/p>\nJudith Malafronte for Op\u00e9raNews<\/em><\/cite><\/blockquote>\n<\/div>\n<\/div>\n\n

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Monteverdi, l’Orfeo<\/h2>\n\n\n\n

Monteverdi’s work is as much the apotheosis of the Renaissance as it is a witness to the nascent Baroque period. This is what strikes us when we listen to this new recording, which very eloquently highlights the contrasts between the nostalgic glimpses of the past and the more innovative lyrical language. The score, which was published two years after the opera\u2019s 1607 premiere in Mantua, is also marked by these contrasts. Does it capture a specific production or does it provide guidelines for future performers? The answer is both, which presents a challenge to anyone who decides to work with it. Leonardo Garc\u00eda Alarc\u00f3n provides audiences with an interpretation that is at once respectful, inventive and theatrical.<\/p>\n\n\n\n

“Leonardo Garc\u00eda Alarc\u00f3n has brought us (with Alpha) a new version of Claudio Monteverdi’s L’Orfeo<\/em>. Its delightful Mediterranean character<\/a><\/a><\/a><\/a>and sense of theatricality have already made it a benchmark recording.\u201dThierry Hilleriteau for the Figaro’s “Instants Classiques”<\/strong><\/em><\/p>\n<\/div>\n\n\n\n

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