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Boston Baroque, Martin Pearlman - Monteverdi: Il ritorno d'Ulisse in patria (2015) [HDTracks]

8-09-2016, 19:16
Classical Music | FLAC / APE | HD & Vinyl

Title: Monteverdi: Il ritorno d'Ulisse in patria
Year Of Release: 2015
Label: Linn Records [CKD 451]
Genre: Classical, Opera
Quality: FLAC (tracks) [24Bit/96kHz]
Total Time: 02:56:10
Total Size: 3,85 GB (d.booklet)

Best Opera Recording and Best Engineered Album (Classical)
GRAMMY nominee
Recorded at Mechanics Hall, Worcester, Massachusetts, USA 27–30 April 2014

Martin Pearlman:
Only three operas by Claudio Monteverdi have come down to us. L’Orfeo (1607), his very first, is generally acknowledged to be the earliest great opera. Then, after a gap of 33 years, during which Monteverdi wrote operas that are tragically now lost, we have two masterpieces from near the end of his life: Il ritorno d’Ulisse (1640) and L’incoronazione di Poppea (1642). Il Ritorno d’Ulisse is based on the story told in books 13–23 of Homer’s Odyssey, in which Ulysses returns home from the Trojan War after an absence of 20 years and slays his wife’s suitors, who have taken over his palace. The 73-year-old Monteverdi’s setting of Giacomo Badoaro’s libretto was premiered in 1640 during the carnival season in Venice, to such acclaim that it was revived the following season, an unusual distinction for an opera of the time. The first performances took place at one of the city’s new public opera houses, where, not only were production budgets severely limited, but where writing for a broader public affected the kinds of stories that were set to music. The story of Ulysses was familiar to the audience, and its abundance of blood and gore was a far cry from the nymphs and shepherds in the earlier Orfeo, which had been written for the Mantuan court. Not long after the premiere, Ulisse dropped from view until late in the nineteenth century, when a manuscript was rediscovered in Vienna, which appears to be a copy made for a later revival in that city. Initially there were doubts as to whether the newly discovered work was a genuine lost opera of Monteverdi. But by the mid-twentieth century, further documents were found which removed any doubts about the work’s authenticity. Il ritorno d’Ulisse is certainly the least well known and least performed of the three surviving operas, and that may have something to do with its relatively recent discovery and even more recent authentication. But another reason perhaps lies in the libretto itself, which some have suggested makes the work more difficult to put across than Monteverdi’s other late opera. Whereas Poppea is filled with brilliant dialogue between fascinating and deeply flawed historical characters, Ulisse is of necessity somewhat more formal in its portrayal of gods and heroes. The final act, which is largely devoted to the convincing of a reluctant Penelope that her husband has truly returned home, has been called anticlimactic by some critics; and some scenes digress, such as the one in Act II (often cut) where Telemachus tells his mother about the beauty of Helen, whom he has seen in his travels. But Monteverdi’s music transcends these difficulties, and of course later composers would conjure great works from less than perfect librettos. Il ritorno d’Ulisse is unquestionably one of the three pillars that place Monteverdi among the greatest of opera composers.


Claudio Monteverdi (1567-1643)

Il ritorno d'Ulisse in patria
1 Act 1 Prologue: Mortal cosa son io (L'Humana Fragilità/Il Tempo/La Fortuna/Amore)[8'41]
2 Act 1 Scene 1: Di misera regina (Penelope/Ericlea)[10'03]
3 Act 1 Scene 2: Duri e penosi (Melanto/Eurimaco)[10'09]
4 Act 1 Scene 4: Sinfonia[0'14]
5 Act 1 Scene 5: Superbo è l'huom (Nettuno/Giove)[6'08]
6 Act 1 Scene 6: In questo basso mondo (Coro di Feaci/Nettuno)[2'02]
7 Act 1 Scene 7: Dormo encora (Ulisse)[4'38]
8 Act 1 Scene 8: Cara e lieta gioventù (Minerva/Ulisse)[11'48]
9 Act 1 Scene 9: Tu, d'Aretusa al fonte (Minerva/Ulisse)[2'09]
10 Act 1 Scene 10: Donata un giorno (Penelope/Melanto)[8'33]
11 Act 1 Scene 11: Oh come mal si salva (Eumete)[1'40]
12 Act 1 Scene 12: Pastor d'armenti può (Iro/Eumete)[1'44]
13 Act 1 Scene 13: Ulisse generoso! (Eumete/Ulisse)[3'18]
14 Act 2 Scene 1: Lieto cammino (Telemaco/Minerva)[2'34]
15 Act 2 Scene 2: O gran figlio d'Ulisse (Eumete/Ulisse)[5'06]
16 Act 2 Scene 3: Che veggio, ohimè, che miro? (Telemaco/Ulisse)[7'33]
17 Act 2 Scene 4: Eurimaco, la donna insomma (Melanto/Eurimaco)[3'02]
18 Act 2 Scene 5: Sono l'altre regine (Antinoo/Anfinomo/Pisandro/Penelope)[7'50]
19 Act 2 Scene 7: Apportator d'alte novelle (Eumete/Penelope)[1'06]
20 Act 2 Scene 8: Compagni, udiste (Antinoo/Anfinomo/Pissandro/Eurimaco)[6'34]
21 Act 2 Scene 9: Perir non può (Ulisse/Minerva)[3'36]
22 Act 2 Scene 10: Io vidi, o pellegrin (Eumete/Ulisse)[1'56]
23 Act 2 Scene 11: Del mio lungo viaggio (Telemaco/Penelope)[5'16]
24 Act 2 Scene 12a: Sempre villano Eumete (Antinoo/Eumete/Iro/Ulisse/Telemaco)[4'55]
25 Act 2 Scene 12b: Tu vincitor (Antinoo/Penelope/Pisandro/Anfinomo/Telemaco)[7'12]
26 Act 2 Scene 12c: Ecco l'arco d'Ulisse (Penelope/Pisandro/Anfinomo/Antinoo/Ulisse)[10'11]
27 Act 3 Scene 1: O dolor, o martir (Iro)[6'14]
28 Act 3 Scene 3: E quai nuovi rumori (Melanto/Penelope)[2'11]
29 Act 3 Scene 4: Forza d'occulto affetto (Eumete/Penelope)[2'29]
30 Act 3 Scene 5: È saggio Eumete (Telemaco/Penelope/Eumete)[2'41]
31 Act 3 Scene 6: Fiamma è l'ira, o gran Dea (Minerva/Giunone)[3'32]
32 Act 3 Scene 7: Gran Giove (Giunone/Giove/Nettuno/Minerva/Coro in cielo/Coro marittimo)[6'40]
33 Act 3 Scene 8: Ericlea, che vuoi far (Ericlea)[3'30]
34 Act 3 Scene 9: Ogni nostra ragion (Penelope/Telemaco/Eumete)[0'47]
35 Act 3 Scene 10: O delle mie fatiche (Ulisse/Penelope/Ericlea)[10'08]

Christopher Lowrey, countertenor
João Fernandes, bass
Sonja DuToit Tengblad, soprano
Owen McIntosh, tenor
Fernando Guimarães, tenor
Aaron Sheehan, tenor
João Fernandes, bass
Abigail Nims, mezzo-soprano
Jennifer Rivera, mezzo-soprano
Krista River, mezzo-soprano
Leah Wool, mezzo-soprano
Sara Heaton, soprano
Marc Molomot, tenor
Daniel Shirley, tenor
Jonas Budris, tenor
Daniel Auchincloss, tenor
Ulysses Thomas, bass-baritone
Boston Baroque
Martin Pearlman, conductor

Boston Baroque, Martin Pearlman - Monteverdi: Il ritorno d'Ulisse in patria (2015) [HDTracks]

Boston Baroque, Martin Pearlman - Monteverdi: Il ritorno d'Ulisse in patria (2015) [HDTracks]

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5 voted

AmosDE   User offline   21 April 2016 06:24

I love Monteverdi, thanks 9

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