La Venexiana
The name La Venexiana is taken from an anonymous Renaissance comedy, one of the cardinal points of reference in Italian theatre both for its use of language, a combination of Italian and dialect, and for its acute rendering of a society and its manners. In styling itself after this glorious tradition, La Venexiana aims to incorporate into its musical interpretations an attention to language in all of its subtlety, and an exultation of contrasts between the refined and the popular, the sacred and the profane. This ensemble has established a new style in Italian early music performance: a warm, truly Mediterranean blend of textual declamation, rhetorical colour and harmonic refinement. Born of the collaboration between soprano Rossana Bertini and countertenor Claudio Cavina, its current musical director, La Venexiana makes a careful use of the original sources, keeping the activity of the ensemble always stimulating and full of enjoyable surprises.
The members of La Venexiana are some of the most experienced European performers in the early music field, especially in the Italian madrigal repertoire. They have sung together in the most famous festivals and concert series throughout the word: from the MusikVerein'Golden Hall in Vienna to De Singel in Antwerpen, from the Brugge Festival to Barcellona, Bruxelles, Utrecht, Strasbourg, Amiens, passing through San Sebastian, Mexico City, Tokyo, New York, Bogotà, San Francisco, Tucson, San Diego, Seattle, they have everywhere been highly praised.
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S'io parto, I' moro e pur partir conviene Clori nel mio partire Donna de l'alma mia, de la mia vita Udite, lagrimosi Stillo l'anima in pianto Ah, dolente partita! Ben'ho del car'oggetto I sensi privi Amor, se giusto sei Hor chi, clori beata Deh Tirsi, Tiri, anima mia, perdona Clori mia, Clori dolce, oh sempre nuove Mntre qual vive pietra Voi bramate ch' io moia (Rimanti in pace) a la dolente e bella Ecco Maggio seren, chi l'hha vestito Cantiam la bella Clori |
This Gramophone award-winning group continues their invaluable series devoted to the Italian madrigal school. With this volume they perform this book, published by Luca Marenzio in 1594. It signaled a turning point in Marenzio's musical creativity as his work became more internally connected with a selection of poetic texts dwelling on intimate reflections about love, remembrance, sorrow, and death.
| 7848 CD $15.98 |
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La giovinetta pianta O come è gran martire Sovra tenere erbette O dolce anima mia Stracciami pur il core O rossignol Se per estremo ardore Vattene pur crudel O Primavera Perfidissimo volto Ch¹io non t¹ami cor mio Occhi un tempo mia vita Vivrò fra i miei tormenti Lumi miei cari Rimanti in pace |
La Venexiana presents its latest recording achievement, a set of madrigal interpretations of a work that is a jewel and a success by any standard: the Third Book of Claudio Monteverdi, undoubtedly the greatest composer of the genre. The reason why this book of madrigals enjoyed such success is soon told. The Third Book is a colourful sequence of styles and forms. We find virtuosic works (with two or three soprano voices), works in chromatic style, madrigals in concitato, declamatory style and courtly madrigals. Briefly put, it is the summa of what at that period one would have understood by the word ÒmadrigalÓ and its most representative forms. Moreover, MonteverdiÕs choice of poets in this book is typical of those of the nuovo stile, including Torquato Tasso and Battista Guarini, ideal to display "serious" emotions and feelings.
| 7048 CD $15.98 |
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Volano Frettolosi Quei Misero Usignolo Quante Volte Dolcissimi Respiri Che Dolce Udire O Soffirire O Fuggire Bella MAdre D'Amour Chi Di Noi Vago Instabil Merce Di Voi Pietosissimo Amore Non Ci Lusinghi Piu Animma Dei Mio Core Amor Amor Gioisca Come Puo Non Come Vuoi Mi Tien Filli |
The members of the ensemble La Venexiana won in 1994 the Gramophone Award for Early Music under the name Concerto Italiano. They are some of the most experienced European performers in the early music field, and have been singing together for many years, establishing a new style in Italian early music performances: a warm, truly Mediterranean blend of textual declamation, textural color and harmonic refinement. This repertoire seems to be created as if to let them fully show their expressive powers. Barbara Strozzi's talent shines in this pieces, designed to show her excepcional dramatic powers and unique gifts for musical imaginery. Many of these madrigals have the appearance of a succession of operatic scenes in miniature, each with its particular dramatic atmosphere and with the participation of several soloists.
| 8420 CD $15.98 |
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