Emmanuelle Haim follows her 2006 recording of Monteverdi’s Combattimento di Tancredi e Clorinda with an unusual and inventive programme on the theme of the Lamento, the literary and dramatic form that found its seventeenth-century musical archetype in Monteverdi’s celebrated Lamento d’Arianna.
Emmanuelle Haim has taken great care in choosing 9 soloists to perform these demanding works amongst which Véronique Gens sings the Lamento d’Arianna, the tantalising fragment from Monteverdi’s lost opera of 1608; Natalie Dessay is the abandoned nymph in the very different Lamento della ninfa from the Eighth Book of Madrigals. Alongside these familiar works by Monteverdi the programme includes Philippe Jaroussky in Barbara Strozzi’s dramatic monologue L’Eraclito amoroso, probably written for Strozzi herself, Carissimi’s Lamento di Maria Stuarda (with Patrizia Ciofi) and Strozzi’s teacher Cavalli’s Lamento d’Egisto (with Rolando Villazón, who also sings Orfeo’s Lamento). Joyce DiDonato, recently signed to Erato as an exclusive artist, adds Ottavia’s heartrending farewell to Rome from Monteverdi’s L’incoronazione di Poppea.
Emmanuelle Haim has taken great care in choosing 9 soloists to perform these demanding works amongst which Véronique Gens sings the Lamento d’Arianna, the tantalising fragment from Monteverdi’s lost opera of 1608; Natalie Dessay is the abandoned nymph in the very different Lamento della ninfa from the Eighth Book of Madrigals. Alongside these familiar works by Monteverdi the programme includes Philippe Jaroussky in Barbara Strozzi’s dramatic monologue L’Eraclito amoroso, probably written for Strozzi herself, Carissimi’s Lamento di Maria Stuarda (with Patrizia Ciofi) and Strozzi’s teacher Cavalli’s Lamento d’Egisto (with Rolando Villazón, who also sings Orfeo’s Lamento). Joyce DiDonato, recently signed to Erato as an exclusive artist, adds Ottavia’s heartrending farewell to Rome from Monteverdi’s L’incoronazione di Poppea.
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