MAGDALENA KOZENA Monteverdi

MAGDALENA KOZENA
Monteverdi

Magdalena Kozená
Anna Prohaska
La Cetra Barockorchester Basel
Andrea Marcon
Int. Release 19 Feb. 2016
1 CD / Download
0289 479 4595 6
ARCHIV Produktion


Lista de temas

Claudio Monteverdi (1567 - 1643)
Scherzi musicali, cioè arie, et madrigali in stil recitativo

Magdalena Kožená, Anna Prohaska, La Cetra Barockorchester Basel, Andrea Marcon

Madrigali guerrieri, et amorosi

Magdalena Kožená, Jakob Pilgram, Michael Feyfar, Luca Tittoto, La Cetra Barockorchester Basel, Andrea Marcon

Scherzi musicali, cioè arie, et madrigali in stil recitativo

Magdalena Kožená, La Cetra Barockorchester Basel, Andrea Marcon

Marco Uccellini (1603 - 1680)
Sonate, arie et correnti, Op. 3

La Cetra Barockorchester Basel, Andrea Marcon

Claudio Monteverdi (1567 - 1643)
L'incoronazione di Poppea, SV 308

Act 1

Settimo libro de madrigali

Magdalena Kožená, La Cetra Barockorchester Basel, Andrea Marcon

Tarquinio Merula (1594 - 1665)
Canzoni overo sonate concertate per chiesa e camera, Op. 12, Book 3

La Cetra Barockorchester Basel, Andrea Marcon

Claudio Monteverdi (1567 - 1643)
L'incoronazione di Poppea, SV 308

Act 3

Magdalena Kožená, La Cetra Barockorchester Basel, Andrea Marcon

Scherzi musicali

Magdalena Kožená, David Feldman, Luca Tittoto, La Cetra Barockorchester Basel, Andrea Marcon

Biagio Marini (1597 - 1665)
Per ogni sorte di strumento musicale diversi generi di sonate, da chiesa, e da camera, Op. 22

La Cetra Barockorchester Basel, Andrea Marcon

Claudio Monteverdi (1567 - 1643)
Madrigali guerrieri, et amorosi

Magdalena Kožená, La Cetra Barockorchester Basel, Andrea Marcon

L'incoronazione di Poppea, SV 308

Act 3

Magdalena Kožená, Anna Prohaska, La Cetra Barockorchester Basel, Andrea Marcon

Tiempo total de reproducción 1:15:44

. . . [Kozená] could find no better accompanists than Swiss early-music ensemble La Cetra, whose settings incorporating lute and period strings bring a wonderful, folksy texture and dancing gait to songs such as "Damigella, tutta bella" . . .

. . . [Kozená] is one of the leading mezzo-sopranos of the age . . . In the intimacies of Baroque solo song and duet she is perfectly at home -- as this wonderful CD proves. Without the need to produce a big tone, she can focus on bringing the emotional words of the songs to life . . . Supporting her with an exemplary combination of emotional heat, rhythmic energy and rhapsodic freedom is La Cetra, a crack ensemble of 13 players . . . Under the shrewd and supple direction of Andrea Marcon they create a wonderful rich sound, patterned with the unusual silvery tracery of the psaltery, a form of zither . . . But the orchestra really shows its class in the songs, where they react to every twist and turn of the words, just as closely as Kozená herself . . . The biggest piece on the CD, "The Battle of Tancredi and Clorinda", changes tempo in almost every bar. It builds to a heartbreaking climax . . . It's another emotional high point in a CD that is full of them.

. . . ["Combattimento di Tancredi e Clorinda"]: With steadfast concentration Kozená excels in this demanding score displaying a range of often complex emotional states. Her tuning, phrasing and projection is splendidly maintained. Soprano Anna Prohaska joins Kozená in "Pur ti miro" the well known duet for Nerone and Poppea from "L'incoronazione". Sensitive and sensual, the duo communicates the text with alluring indeed aching beauty . . . It is hard to fault this marvellous recording featuring Kozená at the peak of her powers.

. . . a bold programme . . .

She really does live and die these characters, in particular her Octavia from "L'incoronazione di Poppea", whose emotions flit through Kozená's voice with emotional force . . . she is a fearless interpreter who commands a huge range of colours and dynamics and isn't afraid to whiten her voice to an almost plaintive monotone or to push its natural vibrato to extremes . . . [Andrea Marcon's leading of La Cetra] is spirited and stylish. The playing is impressive, and Monteverdi's dramatic effects are fully realised -- the orchestral description of a galloping horse in "Combattimento di Tancredi e Clorinda" is quite thrilling.

Kozena teams up with crack period band La Cetra, whose virtuoso solo contributions are a delight . . . [Kozena's voice is] more diffuse, painting with broader tonal brushstrokes . . . giving greater scope to Octavia's emotionally charged "accompagnato" recitatives from "L'incoronazione di Poppea" and helping to colour and sustain the dramatic narrative of "Il combattimento di Tancredi e Clorinda" . . . [the "Poppea" duet "Pur ti miro" offers] lovely contributions of soprano Anna Prohaska . . . ["Zefiro torna" is] sprightlier, with vivid solo contributions from Kozena's instrumentalists . . .

. . . [Kozená makes this repertoire] her own. Ottavia's two arias from "L'incoronazione di Poppea" are richly sung, fiercely vivid, and would be welcomed in a complete performance. Similarly, she and soprano Anna Prohaska make a meal of "Zerfiro torna", which starts the recital, their voices cascading and intertwining to marvelous effect, with some spectacular riffing from the cornettist . . . The divine and delightfully percussive "Damigella tutta bella" is a joy as sung by Kozená and countertenor David Feldman. Kozená holds the attention in the "Combattimento", all 21 minutes of it, in which she sings all three parts . . . her voice has all the colors, and Marcon's dramatic accompaniment is chockfull with embellished commentary . . . In addition to the above, there are brief instrumental pieces by Uccellini, Merula, and Marini, handsomely played.

. . . a pleasure . . . [Kozená displays] imagination and joyful intensity . . . With her combination of musical intelligence and vocal beauty, Kozená's projects are always fascinating . . . Kozená uses violent accents, straight tones and extreme dynamics to great effect yet retains plangent vulnerability . . . [she gives a] deeply felt presentation of "Disprezzata Regina" . . . A languid tempo sets a sensuous mood for "Zefiro torna," while dazzling improvisations from Andrea Inghischiano's cornetto leap and dance around the repeating chords and join into the exuberant vocalism with catchy glee. The disc concludes with Prohaska and Kozená's hypnotic and murmuring take on "Pur ti miro" . . . Uccellini's "Bergamasca" and Marini's "Passacalio" showcase the superb instrumentalists of La Cetra Baroque Orchestra . . . The disc's highlight is Kozená's aggressive and virtuosic rendition of the great scena "Il Combattimento di Tancredi e Clarinda" . . . Here the mezzo realizes her instincts for color and expression with dramatic force.

. . . [Kozená has] a voluptuous voice and extrovert style . . . [in "l'Incoronazione di Poppea"] she animates the pliant recitational style to emotive effect, wringing both pathos and passion from the spurned empress Ottavia's two solo laments . . . her reading of the ravishing final duet "Pur ti miro", with soprano Anna Prohaska, is surely one of the most meltingly sensuous on record. Compelling, too, is Kozená's solo rendition of the tragic, Crusades love story of Tancred and Clorinda, a virtuosic "tour de force" in which she single-handedly tackles all three solo roles . . . The instrumentalists of the Swiss ensemble La Cetra offer richly coloured and elaborately embroidered continuo realisations, fully in keeping with Kozená's luxuriant style. They interlace the vocal works with foot-tapping, dance-inspired numbers by Monteverdi 's contemporaries -- all of them joyously played.

The artistic high points of this recital are Octavia's monologues from "The Coronation of Poppea" . . . a grippingly intense "Lamento della Ninfa", and what is probably the program's centerpiece: the "Combattimento di Tancredi e Clorinda" . . . Kozená is able to enact this solo version with such fire, eloquence, and vocal resourcefulness as to make it sound as if Monteverdi had actually composed it that way . . . [in the opening and closing numbers] Kozená is joined by the rising young German soprano Anna Prohaska . . . their voices and temperaments match well . . . The Nero-Poppea duet finds both singers producing a fine-drawn tone . . . [conductor-arranger Andrea Marcon's] rhythms swing, and the coordination between voices and instruments is ¿ deliberately -- flexible, not rigidly exact. He also incorporates into several numbers a virtuoso cornettist, Andrea Ingischiano, who romps and riffs like a Baroque Louis Armstrong . . . Marcon and company exemplify a contemporary trend that seeks to bridge the classical and popular idioms, showing younger listeners that old music can sound fresh and modem, that HIP can sound hip . . . [the best performances] have an intensity and rhythmic verve that overrides one's reservations.

. . . [this is the third incursion into the Baroque by Magdalena Kozená] and perhaps the most rewarding . . . Kozená's mezzo seems very much at home here. Her lightish voice never sounds stretched, and her way of purging tone of vibrato without sacrificing tonal quality -- especially in long, sustained notes -- proves most effective . . . [scenes for Ottavia from "Poppea"] depend more on verbal subtlety for expressivity than an aura of tragic grandeur . . . In another world emotionally are the delightfully performed dance-animated numbers . . . Kozená gives an involving performance of "Combattimento", touching in the celestial phrases at the end. . . The superbly played interludes illustrative of the action are typical of the imaginative approach of Marcon and his musicians.

Andrea Inghischiano vom La Cetra Barockorchester Basel dreht zunächst auf dem Kornett sensationelle Pirouetten-bevor Ko¿ená mit riesiger, leuchtender Strahlkraft selbstbewusst auftrumpft und dabei zwischendurch magische Momente des Zweifels einstreut. Allein dafür hat sich die Neuaufnahme von "Ko¿ená meets Monteverdi" gelohnt.

Hier kann Magdalena Ko¿ená spielen und improvisieren, ein ihr wirklich entsprechendes verschrecktes Naturwesen sein, ein Luftgeist, eine rettungslos Liebende, eine vom Leben Enttäuschte, eine seinsvergessene Schäferin.

Magdalena Ko¿ená stattet die expressiven Literaturvertonungen mit modernen Mezzotönen aus . . . Ergreifend!

Ähnlich wie Barockrebellin Christina Pluhar lässt die Sängerin ihren Musikern an Zink, Harfe und Theorbe dabei viel Freiraum für wilde Improvisationen, die auch den letzten Staub auf dieser Musik einfach wegfegen.

Nun präsentiert sie (bei Deutsche Grammophon) wunderbar sinnliche Monteverdi-Variationen.

Die Tristesse des Lamento beherrscht sie wie keine zweite. Sie schafft es, den intimsten Schmerz mit einer Authentizität und Direktheit vorzutragen, dass einem immer wieder der Atem stockt. Die gelegentlichen Ausbrüche von Freude, Leidenschaft oder Wut unterstreichen nur die Wirkung ihrer natürlichen Melancholie. Das Basler Barockorchester La Cetra unter der Leitung von Andrea Marcon begleitet sie dabei insgesamt zurückhaltend, an manchen Stellen hochdramatisch, bei den heiteren Momenten locker-beschwingt. Anna Prohaska glänzt als (nahezu) ebenbürtige Gesangspartnerin bei zwei wundervollen Duetten ("Zefiro Torna" und "Pur Ti Miro"), die das Album umschließen. Mit "Monteverdi" belegt Magdalena Ko¿ená ihre Ausnahmestellung als Interpretin von Schwermut, Schmerz und Trauer.

Magdalena Kozena bestreitet zwar virtuos den Löwenanteil der Aufnahmen. Aber zugleich bildet die CD das ganze Spektrum des genial theatralischen Komponisten ab, gebündelt in der packenden Erzählungen vom Kampf Tancredis und Clorindas oder dem irritierend betörenden Schluss-Duett von Poppea und Nerone, die damit ihre über Leichen errungene Zweisamkeit feiern.

. . . diese wahrhaft fabelhafte Sängerin verleiht den szenisch erdachten Stücken wie Lamento della Ninfa (tr. 2) oder den Arien der Kaiserin Ottavia aus L¿incoronazione di Poppea (tr. 5 und 8) eine schier unglaubliche Intensität; selten erlebt man das Duett ¿Pur ti miro¿ des Nero und der Poppea (tr. 12, mit der Sopranistin Anna Prohaska) derart lasziv-erotisch und bis zu den letzten Tönen so langsam-genüßlich ausgekostet.

Die Bandbreite an Ausdrucksnuancen und emotionalen Regungen ist bei Kozena so gross und umfassend durchgeformt, wie es nur denkbar ist . . . Kozena hat nicht die geringste Mühe, die jeweils passende Emotionalität und Klanglichkeit sofort zu treffen . . . [Marcon und Kozena finden] bei Monteverdi zu symbiotischer Lebendigkeit . . . Das liegt wesentlich auch an Marcons famosem Basler Ensemble "La Cetra": Virtuose Geigen und Zinken, klirrende Tambourine, Girlanden von Lauten und Theorben, die treibende Kraft der rhythmischen Muster und der improvisatorische Gestus der verzierten Melodielinien sorgen ein ums andere Mal für mitreissenden Drive -- oder auch verinnerlichte Ruhe, wie in der zarten Passacaglia von Marini.