MUSICAL MUSINGS

A male ensemble of two tenors and one bass make their appearance in the poignant “Lamento della ninfa”, showing us what Monteverdi possibly intended for the “Lamento d’Arianna”. Richter’s soprano is highlighted effectively against a backdrop of plucked instruments and male voices.

The cornetto, its distinctive sound somewhat resembling a muted muffled trumpet, introduces a new musical colour in another ‘musical joke’, “Si dolce è’l tormento”, which showcases the lower register of Richter’s voice (she has recently transitioned into a mezzo soprano), caressing the notes in a way complementary to the cornetto.

The cornetto comes fully into its own in the final number, “Ohimè ch’io cado”, imitating and competing with the voice, and providing what sound like jazzy improvisational solos. It helps remind me of the use Monteverdi was already making of imitation and dialoguing between voice and instrument, a device to be famously exploited in the future by other composers – Lucia di Lammermoor’s mad scene comes to mind. A virtuosic conclusion to a satisfying foray into the music of Monteverdi.

Is the album too much of a good thing? Possibly – if listened to in a single breath so to speak. I would suggest returning to different pieces on separate listening sessions – it helps you to appreciate the intricacy of the musical lines and hear the daring harmonies better with fresher ears.

Interestingly, Richter is a German lieder and choral music specialist who has herself recorded several improvisations for voice and piano, which actually sound like fully fledged lieder, so Pianca’s freer approach to Monteverdi would have suited her well. And to hear this music given free rein in all its impassioned expression, no longer subjected to the idea that early music was somehow always performed in a restrained, bloodless manner, was for me a bonus. Perhaps it would not be a purist’s first choice, but I preferred the zest and improvisatory freedom of these interpretations. The unbridled verve of the ensemble playing at times is literally contagious and has you wanting to get up and dance.

All in all, thoroughly recommended both for the Monteverdi afficionado and the newcomer to his music.

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