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COTW0120070305Rptdat8.45pmWith Donald Macleod.
De la bellezza le dovute lodi
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner (conductor)
Cruda Amarilli, che col nome ancora; O Mirtillo, Mirtillo, anima mia; T'amo mia vita
Concerto Italiano
Rinaldo Alessandrini (conductor)
L'Orfeo (extracts)
Ian Bostridge (tenor)
Patrizia Ciofi, Veronique Gens (sopranos)
European Voices
Les Sacqueboutiers
Le Concert d'Astree
Emmanuelle Haim (conductor)
COTW012011032120120618Donald Macleod discusses Monteverdi's musical obsession with sex and violence.
Donald Macleod follows Monteverdi on the road to stardom at the court of Mantua and uncovers, in this first programme, a musical obsession with sex and violence.
COTW0120081013Claudio Monteverdi (1567-1643)
Donald Macleod visits Venice for this special series on Monteverdi.
1/5.
He visits St Mark's Basilica, where he meets Justine Rapaccioli, the vice maestro di capella.
Responsorium: Domine, ad adiuvandum me festina (Vespro della Beata Vergine)
Monica Piccini, Roberta Invernizzi (sopranos)
Francesco Ghelardini (alto)
Luca Dordolo, Gianluca Ferrarini (tenors)
Daniele Carnovich (bass)
Concerto Italiano
Rinaldo Alessandrini (director)
Credo (Missa in illo tempore)
King's Consort
Robert King (director)
Zefiro torna e 'l bel tempo rimena; Una donna fra l'altre onesta e bella; A dio, Florida bella (Madrigals, Book 6)
Delitiae Musicae
Marco Longhini (director)
Magnificat (Vespro della Beata Vergine)
Anna Simboli, Roberta Invernizzi (sopranos)
Gianluca Ferrarini (tenor)
Pietro Spagnoli, Furio Zanasi (baritones)
Daniele Carnovich, Antonio Abete (basses)
COTW01From Mantua To Venice20140519Monteverdi is sick of Mantua. Venice beckons, as the best music job in Italy falls vacant.
This week Donald McLeod explores the life and times of Monteverdi in his Venice years, when he became the most famous composer in Italy, if not the world.
Mantua, where Monteverdi was overworked and underpaid, had become intolerable. His wife, Claudia, had died and any ties to Mantua were sundered. With his two small sons, Monteverdi wanted to move on in the world; getting the sack from his job in Mantua simply spurred him on. When the Director of Music job at St Mark's in Venice fell vacant, Monteverdi threw his hat in the ring and landed the job. He would never look back, writing some of the most beautiful and expressive music the world has ever heard during his time in Venice.
COTW0220070306With Donald Macleod.
Dara la notte il sol; Lamento d'Arianna
Concerto Italiano
Rinaldi Alessandrini (conductor)
Ballo delle Ingrate
Red Byrd
Parley of Instruments
Peter Holman (conductor).
COTW0220081014He explores the music Monteverdi wrote for St Mark's Basilica and visits Venice's State Archive, a remarkable institution chronicling the past thousand years of Venetian life.
Cantate Domino
Concerto Italiano
Rinaldo Alessandrini (director)
Magnificat
Cantus Colln
Concerto Palatino
Konrad Junghanel (lute and director)
Adoramus te
Rinaldo Alessandrini
Jubilet tota civitas; Laudate dominum in sanctis ejus
Mass for four voices
The Sixteen
Harry Christophers (director)
COTW022011032220120619Donald Macleod reveals how Monteverdi found work at Mantua stressful and underpaid.
Monteverdi lobbied hard to be put in charge of music at Mantua but he found the work stressful and underpaid, plus his unorthodox musical style was coming under fire. Presented by Donald Macleod
Monteverdi lobbied hard to be put in charge of music at Mantua but he found the work stressful and underpaid, plus his unorthodox musical style was coming under fire.
Presented by Donald Macleod.
COTW02Church And Theatre20140520A son rebels, a piece of musical theatre is commissioned and a deadly plague hits Venice.
This week Donald Macleod examines the life and work of Monteverdi during the years he was the Director of Music at St Mark's in Venice. Today we hear how Monteverdi's son Francesco gave up his legal studies and takes up singing, despite his father's wishes that he should pursue a more lucrative career.
Donald plays some of the more substantial pieces from Monteverdi's early Venice years, including the dramatic music theatre piece, Il combattimento de Tancredi e Clorinda. Plus, we hear how troop movements between Mantua and Venice brought plague to Venice, wiping out 50,000 people ? one third of the population. Monteverdi composed his magnificent Gloria as part of the Mass of Thanksgiving for deliverance from the plague, celebrated at St Marks in 1631.
COTW0320070307Tirsi e Clori
Les Arts Florissants
William Christie (conductor)
Con che soavita, labbra odorate; Ohime, dove il mio ben
Emma Kirkby, Judith Nelson (sopranos)
Consort of Musicke
Anthony Rooley (conductor)
Il Combattimento di Tancredi et Clorinda
Catherine Bott (soprano)
Andrew King (tenor)
John Mark Ainsley (narrator)
New London Consort
Philip Pickett (conductor)
Volgendo il ciel
John Potter (tenor)
Parley of Instruments
Peter Holman (conductor).
COTW032011032320120620Music had always been secondary to drama in the court theatre at Mantua and across Europe, but Monteverdi was working towards a revolutionary new form called opera, that would set the template for the next four hundred years. Presented by Donald Macleod.
Donald Macleod discusses Monteverdi's work towards a revolutionary new form called opera.
Music had always been secondary to drama in the court theatre at Mantua and across Europe, but Monteverdi was working towards a revolutionary new form called opera, that would set the template for the next four hundred years.
Presented by Donald Macleod.
COTW0320081015Claudio Monteverdi (1567-1643)
Donald Macleod visits Venice for this special series on Monteverdi.
3/5.
He explores Monteverdi's musical life beyond St Mark's Basilica and talks to Professor David Bryant about the extraordinary diversity of Venetian music-making in Monteverdi's day.
Come dolce hoggi l'auretta
Emma Kirkby, Judith Nelson, Poppy Holden (sopranos)
Consort Of Musicke
Anthony Rooley (director)
Fugge, anima mea
Concerto Vocale
William Christie (harpsichord)
Konrad Junghanel (theorbo)
Selva morale e spirituale (excerpts)
Soloists
Cantus Colln
Konrad Junghanel (lute and director)
Il combattimento di Tancredi e Clorinda
Rene Jacobs (harpsichord and director)
COTW03Songs Of War And Love20140521Featuring Monteverdi's eighth book of madrigals, Of War and Love.
Today Donald Macleod plays us a selection of music from Monteverdi's superb Eighth Book of Madrigals, '...Of War and Love'. It contains some of the most dramatic music the world had ever heard.
Monteverdi was not universally loved, and in 1637 became embroiled in an unpleasant incident with a singer who had slandered him in public. The protracted court proceeding were eventually concluded to his satisfaction; it must have been a relief to turn to the publication of his Eighth Book of Madrigals, which shows off his superb dramatic style of vocal writing. Sensuous, martial, erotic, mournful, witty, these pieces are incredibly expressive and require real vocal agility and acting skills from the performers.
At the grand old age of 76, Monteverdi went on a tour of Lombardy, which was something of a triumph. However, it seems to have worn the old man out, and he died shortly after returning to Venice. He is buried in the Lombard Chapel of the beautiful Frari church, where a plain marble slab marks his final resting place.
We'll conclude the week, tomorrow and Friday, by looking at Monteverdi's last great operatic masterpieces - The Return of Ulysses to his Homeland, and The Coronation of Poppea.
COTW0420070308Come dolce oggi l'auretta spira (Proserpina rapita)
Emma Kirkby, Judith Nelson, Poppy Holden (sopranos)
Jakob Lindberg, Anthony Rooley (chitarrone)
Il Ritorno d'Ulisse in Patria (excs)
Bernarda Fink (mezzo)
Christina Hogman (soprano)
Christoph Pregardien (tenor)
Concerto Vocale
Rene Jacobs (conductor).
COTW042011032420120621A royal wedding gave Monteverdi a chance to shine. Would the strain prove too much?
A royal wedding gives Monteverdi and the whole court at Mantua a chance to dazzle, but will the strain prove too much for the beleaguered composer? Presented by Donald Macleod.
A royal wedding gave Monteverdi a chance to shine.
Would the strain prove too much?
COTW0420081016Claudio Monteverdi (1567-1643)
Donald Macleod visits Venice for this special series on Monteverdi.
4/5.
All the music in this programme is associated with a single day, 21 November 1631, when Venice celebrated deliverance from the plague which had wiped out a third of its population.
Gloria a 7 voci (Selva morale e spirituale)
Les Arts Florissants
William Christie (director)
Ab aeterno ordinata sum (Selva morale e spirituale)
David Thomas (bass)
Parley of Instruments
Roy Goodman, Peter Holman (directors)
Crucifixus; Et resurrexit; Et iterum; Beatus vir; Laudate Dominum; Dixit Dominus (Selva morale e spirituale)
Soloists
Cantus Colln
Concerto Palatino
Konrad Junghanel (lute and director)
COTW04The Return Of Ulysses20140522Donald Macleod on Monteverdi's penultimate operatic masterpiece, The Return of Ulysses.
Today Donald Macleod explores a masterpiece from the pens of Monteverdi and Homer - Ulysses. Monteverdi's penultimate opera is a compelling version of Homer's Odyssey, and the first opera ever to focus on real human characters and their feelings. Opera had only just been developed as a public entertainment; before 1637 the rich nobility had been the only ones who could afford this luxurious form of artistic endeavour. However, the power and expression in Monteverdi's The Return of Ulysses to his Homeland proved an immense hit with Venetian audiences.
But we begin by hearing two pieces which show Monteverdi's ability to exploit the expressive power of religious music: an Offertory and Sanctus from his collection Selva morale e spirituale (literally: "Moral and Spiritual Forest").
COTW0520081017Claudio Monteverdi (1567-1643)
Donald Macleod visits Venice for this special series on Monteverdi.
5/5.
He visits the sites of the world's first two public opera houses, where the composer's late operatic masterpieces were first performed.
Il ritorno d'Ulisse in patria, Act III (complete).
Guillemette Laurens (Melanto)
Mario Cecchetti (Eurimaco)
Marcello Vargetto (Antinoo)
Fabian Schofrin (Pisandro)
Pablo Pollitzer (Anfinomo)
Gloria Banditelli (Penelope)
Furio Zanasi (Ulisse)
Maria Cristina Kiehr (Minerva)
Ensemble Elyma
Gabriel Garrido (director)
L'Incoronazione di Poppea (excerpts)
Francesco Ellero D'Artegna (Seneca)
Dana Hanchard (Nero)
Sylvia McNair (Poppea)
Constanze Backes (Valletto)
Marinella Pennicchi (Damigella)
English Baroque Soloists
John Eliot Gardiner (director)
E questa vita un lampo (Selva morale e spirituale)
Cantus Colln
Konrad Junghanel (director)
COTW05 LAST20070309L'Incoronazione de Poppea (extracts)
Sylvia McNair (soprano)
Dana Hanchard (tenor)
Anne Sofie von Otter (mezzo)
English Baroque Soloists
John Eliot Gardiner (conductor).
COTW05 LAST2011032520120622Donald Macleod on how a Monteverdi sought a way out of service to the Dukes of Mantua.
Deeply unhappy, Monteverdi looks for a way out of his service to the Dukes of Mantua but the decision is eventually taken out of his hands. Presented by Donald Macleod.
Deeply unhappy, Monteverdi looks for a way out of his service to the Dukes of Mantua but the decision is eventually taken out of his hands.
Presented by Donald Macleod.
COTW05 LASTThe Coronation Of Poppea20140523Monteverdi's masterpiece, the thrillingly immoral Coronation of Poppea.
In the last of this week's programmes about Monteverdi in Venice, Donald Macleod looks at the composer's last masterwork - the thrillingly immoral Coronation of Poppea.
In his seventies, Monteverdi was coaxed back to writing for the operatic stage, and had a hit with The Return of Ulysses to his Homeland. To satisfy the demand for yet more, he wrote what many consider his masterpiece, The Coronation of Poppea, the world's first opera to be based on a real historical incident, and featuring real people on stage. The gossipy, scurrilous tone of much of the opera chimes very well with modern audiences, and seems to have done so with Monteverdi's contemporaries too. Today, we hear passages taken from a classic recording, conducted by John Eliot Gardiner, given in London's Queen Elizabeth Hall on the South Bank, in 1993.
We end the week with an unbridled, joyous recording of one of his best loved duets - the wonderful "Zefiro torna" from the ensemble L'Arpeggiata.

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Genre

  • Classical / Music / Discussion and Talk / Arts / Culture and the Media / Factual