Through ability and hard work Monteverdi rose to become Gonzaga’s maestro della musica (master of music) in 1601. The Duke quickly recognised the novelty of this new form of dramatic entertainment, and its potential for bringing prestige to those prepared to sponsor it. An instrumental toccata (English: tucket, meaning a flourish on trumpets) precedes the entrance of La musica, representing the “spirit of music,” who sings a prologue of five stanzas of verse. Die CD Claudio Monteverdi: L'Orfeo jetzt probehören und portofrei für 24,99 Euro kaufen. Early music authority Claude Palisca believes that the two endings are not incompatible; Orfeo evades from the fury of the Bacchantes and is then rescued by Apollo. Monteverdi’s L’Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. She sings, despairingly: “Losest thou me through too much love?” and disappears. The action takes place in two contrasting locations: the fields of Thrace (Acts 1, 2 and 5) and the Underworld (Acts 3 and 4). The musicologist and historian Hans Redlich mistakenly allocates Magli to the role of Orfeo. The brief final act, which sees Orfeo’s rescue and metamorphosis, is framed by the final appearance of La musica’s ritornello and the lively moresca that ends the opera. There is no detailed account of the premiere, although Francesco wrote on 1 March that the work had “been to the great satisfaction of all who heard it”, and had particularly pleased the Duke. In 1599, Monteverdi married his wife Claudia Cattaneo, who was a court singer. L'Orfeo Claudio Monteverdi (作曲), Rene Jacobs (指揮), Concerto Vocale (オーケストラ), Laurence Dale (演奏), Efrat Ben-Nun (演奏), Jennifer Larmore (演奏), Bernarda Fink (演奏), Andreas Scholl (演奏), Nicolas Rivenq (演奏) & 6 その他 形式: CD Le sujet est tiré des Métamorphoses d'Ovide. The opera was introduced to London, in d’Indy’s edition, when it was sung to piano accompaniment at the Institut Français on 8 March 1924. Back in the fields of Thrace, Orfeo has a long soliloquy in which he laments his loss, praises Euridice’s beauty and resolves that his heart will never again be pierced by Cupid’s arrow. It is temporally structured as a palindrome and its form of strophic variations allows Monteverdi to carefully shape musical time for expressive and structural purposes in the context of seconda prattica. Figure 1. Early music authority Claude Palisca believes that the two endings are not incompatible; Orfeo evades from the fury of the Bacchantes and is then rescued by Apollo. However, when Orfeo takes up his lyre and plays, Caronte is soothed into sleep. Find album reviews, stream songs, credits and award information for Monteverdi: L'Orfeo - La Venexiana, Claudio Cavina on AllMusic - 2007 As the brass sound of the toccata fades, it is replaced by the gentler tone of the strings ritornello which introduces La musica’s prologue. Otherwise, he says, “I shall remain with thee in the company of death.” He departs, and the chorus resumes its lament. Instrumental colour is provided by a chitarrone, a pipe-organ, two violins, two cornetts and a double-harp. Carter calculates that through the doubling of roles that the text allows, a total of ten singers—three sopranos, two altos, three tenors and two basses—is required for a performance, with the soloists (except Orfeo) also forming the chorus. 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