Claudio Monteverdi | The Full Monteverdi (film) | The Full Monteverdi | Orfeo (Monteverdi) | Monteverdi's |
Starting in 1985, Mellon also worked under the direction of Philippe Herreweghe, with La Chapelle Royale (1985–1990) and the Collegium Vocale Gent (1990–1996), interpreting Charpentier, Heinrich Schütz, Monteverdi, Jean Gilles, and Johann Sebastian Bach.
Although primarily associated with Italian-language comic roles, Corbelli’s résumé shows his wide-ranging interests and versatility, including French and German roles (Sulpice in Donizetti's La fille du regiment, Papageno in Mozart’s Die Zauberflöte), Baroque opera (Seneca in Monteverdi’s L'incoronazione di Poppea) and a twentieth-century English-language opera (Nick Shadow in Stravinsky’s The Rake's Progress).
Parrott has published major articles on Bach, Monteverdi and Purcell, is co-editor of the New Oxford Book of Carols and author of The Essential Bach Choir, which was informed by his work with Joshua Rifkin on one-voice-per-part performance of Bach's vocal works.
He displays a vast array of influences in his output - from the Black Mountains to 16th/17th-century Italian gardens, from Monteverdi to William Walton.
Its repertoire extends to Monteverdi, Alban Berg and Sondheim, and four ballet programs at 21 performances each.
The Renaissance dance should be distinguished from the early baroque genre of the ballo, which was enlarged to include vocal numbers by such composers as Monteverdi; Il ballo delle ingrate, and Francesco Lambardi; Una festa a ballo.
On the opera stage she appeared as Pamina in Mozart's The Magic Flute, Clarijn in Der Spiegel von Venedig of Hendrik Andriessen, Ninfa in Monteverdi's L'Orfeo, Belinda in Purcell's Dido and Aeneas, Dorinda in Handel's Orlando and Hélène in Chabrier's Une éducation manquée.
She has recorded extensively, for example as Dido in Purcell's Dido and Aeneas (with Christopher Hogwood and the Academy of Ancient Music in 1994), with the choir of King's College, Cambridge conducted by Stephen Cleobury in Bach's St. John Passion, as Venus in John Blow’s Venus and Adonis with Philip Pickett, and in Monteverdi's L'Incoronazione di Poppea with Sir John Eliot Gardiner.
Her vast repertory eventually grew to encompass Princess Eboli in Don Carlo which she sang at La Scala in Milan, in Salzburg and in Vienna, the title-role in Carmen, Ulrica (Un ballo in maschera), Monteverdi's Octavia (L'incoronazione di Poppea), Dido (Les Troyens), Kundry (Parsifal), Klytemnestra (Elektra) and contemporary roles by von Einem and Orff.
Although Mozart would always remain at the core of her repertoire (Susanna, Zerlina), she gradually included roles such as Rosina, Annchen, Véronique, as well as many roles in opera by Monteverdi, Rameau, and Haydn.
In addition to recording the complete madrigals of Monteverdi (up to the 7th book), Delitiae Musicae completed the recording of the six books of madrigals of Gesualdo in 2013, and has made other recordings of works by Palestrina and Banchieri.
Monteverdi, Il Combatimento Di Tancredi I Clorinda with Rolando Villazón etc. al. (2006, Virgin Classics)
His libretto for Gli amori d'Apollo e di Dafne (Francesco Cavalli, 1640) is heavily based on Giovanni Battista Guarini's Il pastor fido, while L'incoronazione di Poppea (1642), set by Monteverdi, is noted among early libretti for the strength and vividness with which the individual characters are sketched.
Giovanni Rovetta (1596–1668) was an Italian Baroque composer and maestro di capella of the Capella Marciana at St Mark's Basilica, Venice between Monteverdi and Cavalli.
His influence as a teacher has perhaps been underestimated, since he trained dozens of musicians to sing in the new style, including the castrato Giovanni Gualberto Magli, who sang in the first production of Monteverdi's first opera Orfeo.
From 1929 until 1931, Redlich studied musicology at Frankfurt University and completed a dissertation on stylistic changes in Monteverdi's madrigals.
In 2010 he conducted the RIAS Kammerchor and the Akademie für Alte Musik Berlin in performances of Monteverdi's Vespro della Beata Vergine, 400 years after its premiere, including a concert at the Rheingau Musik Festival in Eberbach Abbey, with María Cristina Kiehr, Gerlinde Sämann, James Elliott, Andreas Karasiak and Harry van der Kamp.
A well-discussed example can be found in Monteverdi's L'Orfeo, where the indications on which instruments to use are partial and limited to critical sections only.
In pre-war Vienna and Paris, he frequented aristocratic salons and worked with Nadia Boulanger, with whom he made a pioneering set of recordings of madrigals by Monteverdi in 1937; after the war, the new early-music boom relied heavily on his light, unmannered, natural sound.
Il Giardino Armonico performs both in concerts and in opera stage productions of works such as by Monteverdi, Handel, Pergolesi and Vivaldi.
As a freelance director, she directed in 1998 different opera houses in Germany and Austria, including Monteverdi's L'Orfeo in Aachen, Acis and Galatea at the Berlin State Opera and Wolfgang Amadeus Mozart's Zaide in Nuremberg/Erlangen.
She has appeared on the opera stage since 1996 as Pamina in Mozart's The Magic Flute, as Euridice both in Monteverdi’s L'Orfeo and Haydn’s L'anima del filosofo, and as Mélisande in Debussy’s Pelléas et Mélisande.
He is a leading expert on the life and works of Claudio Monteverdi, and is the author of the books Duet and Dialogue in the Age of Monteverdi (Ann Arbor, Michigan: University Microfilms International, 1982) Monteverdi, 'Orfeo' (London: Cambridge University Press, 1986), Monteverdi, Vespers (1610) (Cambridge University Press, 1997), and The Cambridge Companion to Monteverdi (with Richard Wistreich, Cambridge University Press, 2007).
Progressing rapidly, his career quickly comprised a very varied repertoire ranging from Monteverdi to contemporary composers under such conductors as Maurizio Benini, William Christie, René Jacobs, Marc Minkowski, and Kent Nagano.
As well as establishing himself in the standard Italian repertory, he took part in many revivals of ancient works such as Galuppi's Il filosofo di campagna, Monteverdi's Il ritorno d'Ulisse in Patria, and Piccinni's La buona figliuola.
Ten years later, on 15 January 1941, Meili sang Addio terra, addio cielo from Monteverdi's L'Orfeo at the funeral service of James Joyce at Zürich's Fluntern Cemetery.
These discs, mostly for the Supraphon label, included a great many world premiere recordings of composers such as Dufay, Ockeghem, Obrecht, and Jacobus Gallus, as well as of more frequently performed masters such as Palestrina, Lassus, Monteverdi, Dowland, Tallis, and Orlando Gibbons.
Emperor Claudius became another Roman emperor, Otho (Ottone), who had already appeared as a protagonist in Monteverdi's L'incoronazione di Poppea (1642) and in Handel's Agrippina (1709).
This could be music by Monteverdi, as in the fourth part of his Lamento della ... from his string quartet Seven(2006), but also Miles Davis in ' "Six: a line is a dot That went for a walk (2007), or Tom Waits inLove Song(2009) and funk music in the fourth part of hisFour solos for Bass clarinet(2000-01).
Her repertory included Mozart's Donna Elvira from Don Giovanni, and First Lady from The Magic Flute; Monteverdi's L'incoronazione di Poppea and Rameau's Aricia; Jean-Baptiste Lully's Climène from Phaëton, Leclair's Circé in Scylla et Glaucus; Arthur Honegger's Diane from Les aventures du roi Pausole and Francis Poulenc's Madame Lidoine from Dialogues of the Carmelites.
Salamone Rossi, a composer at the court of Mantua, published a volume of psalm settings in a Baroque style similar to Monteverdi, but this did not become widely popular in synagogue use until revived in the late 19th century.
In 2010 the RIAS Kammerchor performed Monteverdi's Vespro della Beata Vergine, 400 years after its premiere, at the Rheingau Musik Festival in Eberbach Abbey, with María Cristina Kiehr, Gerlinde Sämann, James Elliott, Andreas Karasiak, Harry van der Kamp, the Akademie für Alte Musik Berlin, conducted by Hans-Christoph Rademann.
Other notable restorations of historical interest include: Respighi's 1908 orchestration of Claudio Monteverdi's Lamento di Arianna (from the lost opera Arianna, 1608) edited in 2012, and Di Vittorio's completion of Respighi's orchestration of the Tre Liriche (Three Art Songs, 1913) edited for its centennial anniversary in 2013.
Works by a large number of other composers have also been performed, composers such as Brahms, Mozart, Dvorak, Schubert, Monteverdi, Stravinsky, Bruckner, Vivaldi, Elgar, Britten, Vaughan Williams and Tippett.
There is a certain bias in the choir's repertoire towards music of the Renaissance and Baroque periods (Dufay, Ockeghem, Josquin des Prez, Firmin Lebel, Palestrina, Eccard, Byrd, Monteverdi, Gesualdo, Bach, ...).
The Full Monteverdi is a 2007 British film written and directed by John La Bouchardière and based on his live production of the same name, itself based on Claudio Monteverdi's fourth book of madrigals (1603) which, in turn, is a collection of settings of poems by such Italian renaissance poets as Giovanni Battista Guarini, Ottavio Rinuccini and Torquato Tasso.
He now mainly dedicates himself to teaching singing and giving master classes in Italy, Germany and Japan, but he has latterly founded an ensemble for recording Monteverdi operas, which has released recordings of L'incoronazione di Poppea and L'Orfeo.