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Monteverdi: L'Orfeo

Box Set

Claudio Monteverdi (Composer), John Eliot Gardiner (Conductor), His Majesty's Sackbutts and Cornetts (Orchestra), Format: Audio CD
4.7 4.7 out of 5 stars 72 ratings
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Track Listings

Disc: 1

1 Toccata - English Baroque Soloists/His Majesties Sagbutts, Cornetts/John Eliot Gardiner
2 Prologo: Dal mio Permesso - Lynne Dawson
3 Act I: In questo lieto e fortunato goirno/Vieni, Imeneo/Muse, onor di Parnaso - Mark Tucker/Monteverdi Chor/Nancy Argenta
4 Act I: Balletto: Lasciate i monti/Ma tu, gentil cantor - Monteverdi Chor/Michael Chance
5 Act I: Rosa del ciel/Io non diro qual sia/Balletto: Lasciate i monti/Vieni, Imeneo - Anthony Rolfe Johnson/Julianne Baird/Monteverdi Chor
6 Act I: Ma se il nostro gioir/Ecco Orfeo, cui pur - Mark Turner/Nigel Robson/Michael Chance/Simon Birchall/Nancy Argenta/Monteverdi Chor
7 Act II: Sinfonia-Ecco pur ch'a voi ritorno - Anthony Rolfe Johnson
8 Act II: Mira che se n'alletta/Dunque fa degni, Orfeo - Mark Turner/Nigel Robson/Monteverdi Chor
9 Act II: Vi ricorda, o bosch'ombrosi - Anthony Rolfe Johnson/Mark Turner
10 Act II: Ahi, caso acerbo/In un fiorito prato - Anne Sofie von Otter/Mark Turner/Michael Chance/Anthony Rolfe Johnson
11 Act II: Ahi, caso acerbo/Ma io, che in questa lingua - Monteverdi Chor/Anne Sofie von Otter
12 Act II: Sinfonia-Chi ne consola, ahi lassi?/Ahi, caso acerbo/Ma dove, ah dove/Ahi, caso acerbo - Mark Turner/Nigel Robson/Monteverdi Chor

Disc: 2

1 Act III: Sinfonia-Scorto da te, mio Nume/Ecco l'atra palude/Dove, ah dove ten vai - Anthony Rolfe Johnson/Mary Nichols
2 Act III: O tu, ch'inanzi morte - John Tomlinson
3 Act III: Possente spirto - Anthony Rolfe Johnson
4 Act III: Ben mi lusinga/Ahi, sventurato amante/Ei dorme, e la mia cetra - John Tomlinson/Anthony Rolfe Johnson
5 Act III: Nulla impresa per uom - Monteverdi Chor/John Eliot Gardiner
6 Act IV: Signor, quel infelice/Benche severo/O degli abitator/Quali grazie ti rendo/Tue soavi parole - Diana Montague/Willard White/Howard Milner/Nicolas Robertson
7 Act IV: Pietade, oggi, e amore/Ecco il gentil cantor - Monteverdi Chor/Howard Milner
8 Act IV: Qual onor di te/O dolcissimi lumi/Rotto hai la legge - Anthony Rolfe Johnson/John Tomlinson
9 Act IV: Ahi, vista troppo dolce/Torn'a l'ombra/Dove ten vai - Julianne Baird/Howard Milner/Anthony Rolfe Johnson
10 Act IV: E la virtute un raggio - Monteverdi Chor/John Eliot Gardiner
11 Act V: Questi i campi di Tracia - Anthony Rolfe Johnson/Mark Turner
12 Act V: Sinfonia-Perche a lo sdegno - Nigel Robson/Anthony Rolfe Johnson
13 Act V: Vanne Orfeo - Monteverdi Choir/John Eliot Gardiner
14 Act V: Moresca - English Baroque Soloists/His Majesties Sagbutts, Cornetts/John Eliot Gardiner

Editorial Reviews

Product description

Monteverdi: L'Orfeo / Gardiner, Rolfe-Johnson, Baird . Release Date: 10/25/1987 . Label: Archiv Produktion (Dg) . Catalog #: 419 250 . Spars Code: DDD . Composer: Claudio Monteverdi . Performer: Lynne Dawson, Anthony Rolfe Johnson, Anne Sofie von Otter, John Tomlinson, ... Conductor: John Eliot Gardiner . Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir, His Majesties Sagbutts and Cornetts . Number of Discs: 2 . Recorded in: Stereo . Length: 1 Hours 46 Mins. Works on This Recording: 1. L'Orfeo by Claudio Monteverdi Performer: Lynne Dawson (Soprano), Anthony Rolfe Johnson (Tenor), Anne Sofie von Otter (Mezzo Soprano), John Tomlinson (Bass), Nancy Argenta (Soprano), Mary Nichols (Soprano), Diana Montague (Soprano), Willard White (Bass), Mark Tucker (Tenor), Nigel Robson (Tenor), Simon Birchall (Bass), Michael Chance (Countertenor), Howard Milner (Tenor), Nicholas Robertson (Tenor), Julianne Baird (Soprano) Conductor: John Eliot Gardiner Orchestra/Ensemble: English Baroque Soloists, Monteverdi Choir, His Majesties Sagbutts and Cornetts Period: Baroque Written: 1607; Mantua, Italy Date of Recording: 12/1985 Venue: EMI Abbey Road Studios, London Length: 105 Minutes 43 Secs. Language: Italian

Amazon.com

History's first great opera--the story of Orpheus descending to Hades to retrieve his bride Eurydice from the dead, only to lose her again--gets a fine performance (the best overall version currently available) from John Eliot Gardiner and his musicians. Anthony Rolfe Johnson performs the title role with all the beautiful sound you'd expect from an Orfeo; he negotiates virtuoso passages flawlessly and sings passionately without overwhelming Monteverdi's music with too much voice. Julianne Baird as Eurydice and Anne Sofie Von Otter in a gripping appearance as the Messenger are the standouts in a cast without a weak link. Everyone involved, including the chorus and orchestra, performs with such energy, beauty, and precision that even long stretches of recitative never pall. --Matthew Westphal

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 7.05 x 6.73 x 1.26 inches; 9.17 ounces
  • Manufacturer ‏ : ‎ Archiv
  • Item model number ‏ : ‎ 1989843
  • Original Release Date ‏ : ‎ 1990
  • SPARS Code ‏ : ‎ DDD
  • Date First Available ‏ : ‎ October 25, 1990
  • Label ‏ : ‎ Archiv
  • ASIN ‏ : ‎ B0000057CV
  • Number of discs ‏ : ‎ 2
  • Customer Reviews:
    4.7 4.7 out of 5 stars 72 ratings

Customer reviews

4.7 out of 5 stars
4.7 out of 5
72 global ratings

Top reviews from the United States

Sven Edward
5.0 out of 5 stars Wowwy wow wow WOW
Reviewed in the United States on July 28, 2016
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Widely considered to be the earliest surviving example of opera, Monteverdi's l'Orfeo has rarely been matched and never surpassed in that genre. I'm not a devotee of conductor John Elliot Gardiner, but he has put together an all-star cast and a band of hot shot players for this recording. Anthony Rolfe Johnson is in fine form here. If you were to have only one Orfeo recording in your library, you would not be disappointed by this one. Nigel Rogers and Emmy Kirkby on EMI is another worthy set. I have yet to hear newer efforts by Emmanuelle Haïm (with Ian Bostridge in the title role) or René Jacobs, but Andrew Parrott's account is also worth a listen.
8 people found this helpful
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Codera
5.0 out of 5 stars One Of The First Operas Ever Made (And The First I Fell In Love With)
Reviewed in the United States on April 29, 2016
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This is a beautiful late Renaissance/early Baroque opera, and a superb rendition of it! It grows like fine wine and I enjoy it more with each listen. I discover something new every time. Highly recommended introduction to Monteverdi and opera music in general!
6 people found this helpful
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B. Bryant
5.0 out of 5 stars Superb!
Reviewed in the United States on March 21, 2010
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This is great, if you like Renaissance music. Technically it's an opera - one of the first handful ever composed - but it isn't the stereotypical "fat lady" fare of Mozart and Rossini. I hate that stuff, but can't recommend this one highly enough.

Generally light and delicate, with madrigals for the choruses. If you like early music, you'll love this.
2 people found this helpful
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Critic at large
5.0 out of 5 stars Gardiner and crew are amazing!
Reviewed in the United States on September 17, 2005
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I am not a big fan of Gardiner when it comes to some music, for instance Bach. I just think others do it better. However, Gardiner is a fine conductor of Monteverdi and this recording shows it. If you are not familiar with Baroque opera and want to find out how a first rate crew of performers sound with a major work of early opera, this is a great recording with which to start!
16 people found this helpful
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Brent Peterson
4.0 out of 5 stars Happy 75th birthday, John Eliot Gardiner, born 04/20/1943
Reviewed in the United States on April 21, 2018
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The best I have heard from JEG in the baroque world. I am a much bigger fan of his in Berlioz and Schumann. More detailed review to follow soon ...
4 people found this helpful
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stephanie cabell
5.0 out of 5 stars Monteverdi's "L'Orfeo"--It's a Keeper!
Reviewed in the United States on November 22, 2013
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A great recording with stellar musicians, both singers and instrumentalists. Monteverdi's use of ritornelli is classic and one of the gems of L'Orfeo. I highly recommend adding this recording to one's collection of Monteverdi works.
3 people found this helpful
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Will Sinda
5.0 out of 5 stars Great performance and recording.
Reviewed in the United States on January 22, 2019
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Pure pleasure.
One person found this helpful
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Axel
5.0 out of 5 stars Well done piece of Baroque music
Reviewed in the United States on December 8, 2012
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If you like Baroque music and the work of Montverdi, I am quite sure you will like this production. A very strong and positive piece.
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Top reviews from other countries

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Cliente Amazon
5.0 out of 5 stars Muy bueno
Reviewed in Spain on July 15, 2019
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Quizas una de las mejores versiones
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il Mozartiano
5.0 out of 5 stars La "favola in musica" nella sua incisione più classica
Reviewed in Italy on March 31, 2017
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A distanza di 450 anni dalla nascita di Claudio Monteverdi e a 410 dalla sua prima rappresentazione a Mantova, "L'Orfeo" rimane il pilastro fondante dell'opera italiana. Egualmente, a trent'anni dalla sua comparsa sul mercato discografico, questa incisione realizzata per la Archiv da Sir John Eliot Gardiner alla testa degli English Baroque Soloists sembra stagliarsi ancora come quella di riferimento per freschezza e rigore filologico. E' vero, gli ultimi anni ci hanno riservato le lussureggianti interpretazioni di Rinaldo Alessandrini per Naive e di Carlo Cavina per Glossa, eppure questa firmata dal Maestro britannico gode di una fama intramontabile, essendo divenuta un vero e proprio classico, imperdibile per gli amanti del genere.
Le ragioni di questo successo risiedono anzitutto nella grande maestria di Gardiner, che, forte dei suoi affezionati complessi dell'English Baroque Soloists (impreziositi dal rinforzo garantito dallo sfavillante complesso di ottoni barocchi del His Majesty's Sagbutts and Horns) e del blasonato Monteverdi Choir, ci calano nel mondo di questa fiaba rinascimentale come in un quadro di Botticelli, mostrandoci ogni singolo florilegio musicale del genio monteverdiano con una chiarezza, un rigore filologico ed una freschezza ad oggi ineguagliati. Sfrondata la partitura dalle incrostazioni del tempo, Gardiner offre una lettura che lascia apprezzare tutte le sfaccettature di quella che probabilmente fu la prima opera composta dal Genio cremonese, in questo coadiuvato da uno stuolo di cantanti tra i migliori dell'epoca e di oggi, tutti specializzati nel repertorio barocco e classico: il ruolo del titolo è affidato all'indimenticato Anthony Rolfe Johnson, tenore britannico che affiancò Gardiner in molte delle sue produzioni mozartiane e non solo; insuperati (anche per la pulitissima dizione) restano l'Euridice di Julianne Baird, così come la Messaggera di Anne Sofie von Otter, il Caronte del grande John Tomlinson, la Ninfa di Nancy Argenta e la Proserpina di Diana Montague. Il Maestro inglese, forte del suo amore per la filologia (mai fine a sé stessa) e del suo entusiasmante spirito pionieristico, presentò per la prima volta al pubblico la sua lettura di "Orfeo" in occasione dei Proms del 1967, in un 'epoca in cui il repertorio operistico difficilmente risaliva nel tempo oltre l' "Orfeo ed Euridice" di Gluck o, al massimo, oltre il "Dido and Aeneas" di Purcell: egli, spiegando nelle note di accompagnamento il lavoro che lo ha impegnato nella ricostruzione di un'edizione filologica il più possibile fedele, fissa qui un'incisione che va ben oltre la "fredda" filologia, ed anzi con successo porta a compimento il miracolo quasi impossibile di restituire all'ascoltatore la solennità, ma anche l'improvvisazione e la luminosa musicalità italiana cui i complessi della corte mantovana fecero certamente ricorso durante le prime rappresentazioni di questo intramontabile capolavoro.
Correda il cofanetto un ottimo libretto, completo di note a firma del direttore e libretto in italiano, inglese, francese e tedesco. Da non perdere!
2 people found this helpful
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Patrick N Corrigan
5.0 out of 5 stars A recording I'm not prepared to live without
Reviewed in Canada on April 9, 2016
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A classic recording of a haunting iconic work of early opera. Interpretation splendidly dramatic. Voices full of colour. I will listen to this recording for all of my days.
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Ged
5.0 out of 5 stars Gardiner goes all out and luxuriates in the music
Reviewed in the United Kingdom on January 9, 2016
Verified Purchase
Can't stop playing it. I saw a documentary on Monteverdi and the background to this work. I searched around and listened to a few recordings but this took my fancy. Gardiner does not dial back in favour of some sort of medieval authenticity, instead he goes all out for sound and luxuriates in the music. I may search out other recordings but this one is a wonderful self indulgence. Even if you hate opera you will love this if you like a good tune. The fanfare at the start is stirring stuff and the singing is captivating whether you focus or let it wash over you.
7 people found this helpful
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Raymond
4.0 out of 5 stars Très bonne version!
Reviewed in France on March 23, 2013
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Le livret est le meilleur que j'ai vu, il y a les photos des artistes, chanteurs et musiciens!

La Musica, (Lynne Dawson), est excellente ainsi que le continuo. Précision et excellence des choeurs et de l'orchestre, tempi excellents, doubles croches des violons et flûtes dans les ritournelles ce qui renforce le caractère dansant, tout ceci a été très apprécié.
Orfée (A. R. Johnson) est très bon et Euridice (J. Baird), est superbe!

L'accompagnement de clavecin n'est pas sec comme chez Vartolo et la fin du 1er acte ainsi que l'entame "Attacca" du 2em acte sont très réussis.

On retrouve les doubles croches de bon goût des violons dans les ritournelles et bel ensemble entre les basses et les 2 clavecins pendant les interventions d'Orfée.
(Anne S. Von Otter) en Messagiera est très bonne!

Acte 3, Les cuivres n'ont pas l'inventivité de ceux d'Alessandrini et Speranza (Mary Nichols) quoique très bonne est moins pathétique que son homologue de la version d'Haïm.
Charon, accompagné par une régale puissante fait carrément peur et c'est le but!
Les cuivres à la fin de l'acte 3 sont bien meilleurs qu'au début du même acte.

Acte 4, Proserpina (Diana Montague) est très tendre et Pluton excellent!

Acte 5, un Apollon Solaire, un choeur magnifique et un orchestre inspiré terminent cet opéra en apothéose!

Cette version qui date pourtant de 1985 demeure encore devant beaucoup d'autres qui ont été faites depuis.
Cela dit il lui manque une pointe de passion que l'on trouve dans la version d'Haïm, c'est ce qui explique le 4 sur 5 que je lui attribue.

Mais le plaisir de l'entendre reste intact...
5 people found this helpful
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