Les Arts Florissants Explore Madrigals by Monteverdi and His Contemporaries

16/10/2011

 Monteverdi, Vecchi, Ingegneri, and Marenzio: Les Arts Florissants (Miriam Allan (soprano), Hannah Morrison (soprano), Marie Gautrot (contralto), Paul Agnew (tenor/director), Sean Clayton (tenor), Lisandro Abadie (bass), Union Chapel,London, 13.10.2011 (MB)

This concert was produced by the Barbican as part of its Classical Music Season

Monteverdi:  Lapidabant Stephanum

Vecchi:  Ardo sì, ma non t’amo
Riposta: Arda e gela à tua voglia

MonteverdiCanzonette d’amore che m’uscite del cuoire
Quando sperai del mio servir mercede
Raggi dov’e’l moi bene

Ingegneri:  Ardo sì, ma non t’amo
Ardi e gela à tua voglia

Marenzio:  A che tormi il ben moi
Questa ordi il laccio

Monteverdi:  Ardo sì, ma non t’amo
Ardi e gela a tua voglia
Arsi e alsi a mia voglia
Madrigals: Book One

Les Arts Florissants, under the directorship of Paul Agnew, are performing a complete cycle of Monteverdi madrigals across Europe between 2011 and 2014. This concert took in the first book but, given its relative brevity, offered a first half which set that collection, published in 1587, in historical context. And so, we heard the first piece from Monteverdi’s first publication, ‘Lapidabant Stephanum’ from the 1582 Sacrae cantiunculae tribus vocibus, followed by a brief spoken introduction from Agnew and other madrigals from 1583-7.

I think it might have taken me quite some time to guess the composer of that opening motet, beautifully written though it may be. The performance was not auspicious either: a little too delicate in sound, albeit with an unpleasant nasal quality intruding from time to time. The madrigals, however, were much more impressive in performance. A couple of settings by Orazio Vecchi opened, the opening one being the first composition we know by Giovanni Battista Guarini, ‘Ardo, sì, ma non t’amo’, which, according to Agnew, received no fewer than sixty-two settings. (Presumably then, there will be settings we have lost too.) It benefited from a fuller sound, unsurprisingly more dramatic too, with hints of the street, at times almost spat out, though the tenderness of the penultimate line (‘Perch’ho già sano il core’) was equally striking. ‘Ardi o gela a tua voglia’, also from Vecchi’s 1573 First Book of Madrigals, came in this context as an answer from womankind, the excoriation of an unfaithful, merciless girl followed by the same concerning an unfaithful, shameless man. The final cadence was especially well handled, properly climactic.

Three pieces from Monteverdi’s First Book of Canzonette, all for three voices, followed. Perhaps I am reading too much into such an early work (published 1584), but ‘Canzonette d’amore’ already sounded more than a little erotic. ‘Quando sperai’ emerged as a study in male plangency, echoing the sad final stanza:

Così per sé far l’ape ogn’anno crede

Miser ail mele, e mai non lo possiede

Che altri le fura e toglie

Il dolce frutto e le sue care spoglie.

Others will always steal the sweet honey the bee thinks it is making for itself. ‘Raggi dov’è il mio bene’ permitted the women to respond in flighty fashion, though subtly so. If the vocal quality sounded more girlish than womanly, then that may well have been the intention.

Monteverdi’s teacher, Marc’Antonio Ingegneri, was featured with a couple of madrigals from his 1587 Fifth Book, the first another setting of ‘Ardo, sì, ma non t’amo’, both performances clearly relishing the composer’s strikingly beautiful harmonies (perhaps more striking than his word-setting). Two madrigals from Luca Marenzio’s Book Four displayed courtliness (‘A che tormi il ben mio’) and a ‘busy-ness’ that truly seemed to presage Monteverdi (‘Questa ordì il laccio’). Finally in the first half, we had a sneak preview, as it were, of the final three madrigals from Monteverdi’s collection, beginning with his setting of ‘Ardo, sì, ma non t’amo’: animated, undeniably human as well as humanist. The post-Vecchi dramatist was already to the fore in the other two settings, both of Tasso.

Even the opening madrigal of Monteverdi’s First Book, ‘Ch’ami la vita mia nel tuo bel nome’, seemed in itself a touching journey from life to death, the latter of course encompassing a multitude of sins – and pleasures. I was reminded of Raymond Leppard’s wonderful description of Dido and Aeneas as ‘Tristan und Isolde in a pint pot’. This was a smaller receptacle still, yet in its way as exquisite. Monteverdi’s later dramatic madrigals, though on a much larger scale than this, have a great deal more to say than most operas that succeed them. The struggle between love and ‘death’ also featured strongly in madrigals such as ‘A che tormi il ben mio’. ‘Baci soavi e cari’ received a delicate reading, whose clarity was such that one could readily have taken dictation of each line. Phyllis, the bane of madrigal singers and listeners worldwide, put in a couple of appearances, though the Highbury police sirens that followed quickly upon ‘Filli cara ed amata’ suggested she might be a little more interesting than previously suspected. The poignancy of ‘Poiché del mio dolore’ was touching indeed, likewise that of the heart-rending ‘Se nel partir da voi’, whose chromaticism almost tends to the Purcellian. I was also much taken with the freedom with which ‘Questa ordì il laccio’ was despatched. When the final three madrigals came around again, they sounded both familiar and changed. It was a pity that the very last, ‘Arsi ed alsi a mia voglia’ sounded somewhat hectic, impetuous even, almost throwaway. But on the whole, there had been a great deal to enjoy – and to learn. In that context, it is also worth welcoming such an intelligently written, informative booklet note from Andrew Stewart, his words taking in judiciously-selected historical and intellectual context as well as the work of Susan McClary. (One London hall recently hit rock bottom with a programme that said not a single word about the music of Mozart’s Haffner Symphony but nevertheless found the space bizarrely to thank the Savoy Hotel for Claudio Abbado’s biography, artist representation clearly having moved on from the traditional agency model.)


Mark Berry

 

Comments

Comments are closed.

Recent Reviews

Season Previews

__________________________________
  • NEW! Edinburgh Usher Hall 2019-2020 Orchestral Season __________________________________
  • NEW! Lyric Opera of Chicago’s 2020 Ring Cycles __________________________________
  • NEW! Ex Cathedra’s 50th Anniversary Season in 2019-20 __________________________________
  • NEW! Geneva Grand Théâtre in 2019-20 __________________________________
  • UPDATED! 2019-20 at the Royal Opera House, Covent Garden __________________________________
  • NEW! City of Birmingham Symphony Orchestra in 2019-20 __________________________________
  • NEW! Musikfest Berlin 2019 from 30 August to 19 September __________________________________
  • NEW! Tonhalle Orchestra Zurich in 2019-20 __________________________________
  • NEW! Zurich Opera House in 2019-20 __________________________________
  • NEW! English National Opera in 2019-2020 __________________________________
  • NEW! ENB in 2019-2020 and Updates on their New London City Island Home __________________________________
  • NEW! Classical Music and Other Events at the Southbank Centre in 2019-20 __________________________________
  • UPDATED! Cleveland Orchestra in 2019-20 __________________________________
  • NEW! Classical Music at the Barbican in 2019-20 __________________________________
  • NEW! The Met: Live in HD in 2019-20 __________________________________
  • NEW! Carnegie Hall 2019-2020 Season Highlights __________________________________
  • NEW! Venus Unwrapped: Kings Place’s Year-Long Focus on Women Composers __________________________________
  • Subscribe to Free Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

    __________________________________
  • NEW! SOPRANO ANGELA GHEORGHIU IN CONVERSATION WITH MICHAEL COOKSON __________________________________
  • NEW! Opera Loki’s Madam Butterfly can be seen in Alton and London this September __________________________________
  • NEW! The Joys of the Marlboro Music Festival: Chamber Music’s Best-Kept Secret __________________________________
  • NEW! MATTHEW BOURNE’S ROMEO AND JULIET IN CINEMAS FROM 22 OCTOBER __________________________________
  • NEW! CELLIST JOHANNES MOSER IN CONVERSATION WITH GEOFFREY NEWMAN __________________________________
  • NEW! CHORUS MASTER STEPHEN DOUGHTY IN CONVERSATION WITH ROBERT BEATTIE __________________________________
  • REVIEWED! Ron Howard’s Pavarotti in Cinemas 13 July (Preview) and Nationwide (15 July) __________________________________
  • MULTI-FACETED MUSICIAN JOY LISNEY IN CONVERSATION WITH ROBERT BEATTIE __________________________________
  • ‘MUSICAL MAGIC’: AN INTERVIEW WITH VIOLINIST HENNING KRAGGERUD __________________________________
  • CONDUCTOR THOMAS SANDERLING IN CONVERSATION WITH GREGOR TASSIE __________________________________
  • CONDUCTOR ÁDÁM FISCHER IN CONVERSATION WITH MICHAEL COOKSON __________________________________
  • A Q&A WITH GERMAN SOPRANO PETRA LANG __________________________________
  • HOW TO CONTACT SEEN AND HEARD INTERNATIONAL __________________________________
  • A Q&A WITH ITALIAN BARITONE FRANCO VASSALLO __________________________________
  • Search S&H

    Archives by Week

    Archives by Month