Special offer. Monteverdi: L'Orfeo
Monica Piccinini, Anna Simboli (soprano), Sara Mingardo (contralto), Furio Zanasi, Luca Dordoli (tenor) & Sergio Foresti, Antonio Abete (bass)
Concerto Italiano, Rinaldo Alessandrini
Awards:
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BBC Music Magazine, November 2007, Opera Choice
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Building A Library, December 2025, Top Choice
…this is unquestionably the most subtle rendering of the Orfeo text that's available on compact disc. Furio Zanasi (Orfeo) is exceptionally good. Simboli (Euridice) is pure-voiced and clear,...
Special offer. Monteverdi: L'Orfeo
Monica Piccinini, Anna Simboli (soprano), Sara Mingardo (contralto), Furio Zanasi, Luca Dordoli (tenor) & Sergio Foresti, Antonio Abete (bass)
Concerto Italiano, Rinaldo Alessandrini
Purchase product
Awards:
-
BBC Music Magazine, November 2007, Opera Choice
-
Building A Library, December 2025, Top Choice
…this is unquestionably the most subtle rendering of the Orfeo text that's available on compact disc. Furio Zanasi (Orfeo) is exceptionally good. Simboli (Euridice) is pure-voiced and clear,...
About
This new recording of Monteverdi’s “Orfeo”, a work which is generally considered to be the first true opera in musical history, marks its 400th anniversary. It is performed in a new version developed by one of the world’s leading experts on the composer’s music, Rinaldo Alessandrini and his internationally acclaimed ensemble Concerto Italiano, and presented in a luxurious limited edition of 2 CDs within an illuminating book.
Contents and tracklist
- Furio Zanasi (tenor), Sara Mingardo (contralto), Antonio Abete (bass), Monica Piccinini (soprano), Anna Simboli (soprano), Gianluca Ferrarini (tenor), Raffaele Giordani (tenor), Marco Scavazza (bass), Sergio Foresti (bass), Luca Dordolo (tenor)
- Concerto Italiano
- Rinaldo Alessandrini
Awards and reviews
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BBC Music MagazineNovember 2007Opera Choice
November 2007
…this is unquestionably the most subtle rendering of the Orfeo text that's available on compact disc. Furio Zanasi (Orfeo) is exceptionally good. Simboli (Euridice) is pure-voiced and clear, and Migardo uses the natural vulnerability in her sound movingly to project the distraught feelings of the Messenger.
The first opera to survive in the modern repertoire had its premiere in Mantua 400 years ago. It's hard to imagine a finer anniversary present than Alessandrini's superbly theatricl and brilliantly sung version
