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N6 0552
CACCINI, G.: Euridice (L') [Opera] (Concerto Italiano, Alessandrini)

CACCINI, G.: Euridice (L') [Opera] (Concerto Italiano, Alessandrini)

The Classical Shop
release date: April 2014

Originally recorded in 2014


Rinaldo Alessandrini


Silvia Frigato


Furio Zanasi


Concerto Italiano



Innsbrucker Festwochen der Alten Musik, Austria


Record Label




Total Time - 79:10
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CACCINI, G.: Euridice (L') [Opera] (Concerto Italiano, Alessandrini)

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L'Euridice (ed. M. Pollio and R. Alessandrini)

1 Sinfonia 01:18
2 Prologo: Io, che d'alti sospir vaga (La Tragedia) 04:01
3 Scene 1: Ninfe, ch'i bei crin d'oro (Shepherd, Nymph, Chorus) 03:17
4 Scene 1: Donne, ch'ha miei diletti (Euridice, Shepherd) 02:30
5 Scene 1: Itene liete pur (Nymph, Chorus, Shepherd) 04:18
6 Scene 2: Antri, ch'ha miei lamenti (Orfeo, Arcetro, Tirsi) 05:35
7 Scene 2: Lassa, che di spavento (Dafne, Arcetro, Orfeo, Shepherd) 07:28
8 Scene 2: Non piango, e non sospiro (Orfeo) 01:27
9 Scene 2: Dunque e pur ver (Nymph, Aminta, Shepherd, Chorus, 2 Nymphs) 08:16
10 Scene 3: Se fato invido e rio (Arcetro, Shepherd) 04:41
11 Scene 3: A te, qual tu ti sia (Shepherd, Chorus, Nymph) 02:53
12 Scene 4: Scorto da immortal guida (Venere, Orfeo) 02:11
13 Scene 4: Funeste piagge (Orfeo) 03:59
14 Scene 4: Ond'e cotanto ardire (Plutone, Orfeo) 05:10
15 Scene 4: O re, nel cui sembiante (Proserpina, Orfeo, Plutone, Radamanto, Caronte) 05:37
16 Scene 4: Poi che gli eterni imperi (Infernal Shades and Deities) 02:42
17 Scene 5: Gia del bel carro ardente (Arcetro, Shepherd, Aminta) 03:58
18 Scene 5: Quando al tempio n'andaste (Aminta, Shepherd) 04:02
19 Scene 6: Gioite al canto mio (Orfeo, Nymph, Euridice, Shepherd, Dafne, Aminta) 04:40
20 Scene 6: Biondo arcier (Chorus) 01:07
 Silvia Frigato Soloist
  Furio Zanasi Soloist
  Rinaldo Alessandrini Conductor

More than four hundred years separate us from the Euridice Caccini, which is the greatest obstacle to understanding this theatrical event that unites for the first time on stage the text and music. It happened a lot during these four centuries but there is a way that can put us in contact with a primary and original truth. Caccini makes concrete the need for individual and expressing subjective through the human voice. He theorizes, invents and requires theatrical imitation is made ??visible and real through individual contribution of the performer. He theorizes and requires passion as the first condition which justifies this new style. - Rinaldo Alessandrini

                         **** (Excellent album)

Marco Bizzarini - Musica magazine (Italy) - July/August 2014


"... Concerto Italiano, as impressive live as they are on CD, have carved out a considerable reputation with the Itlian music of this period, and there is an authority and supreme musicality to this performance in which the vocal ornamentation and instrumental elaboration sound truly second nature to the performers."

D James Ross - Early Music Review 160 - June 2014

                   Performance ****          Recording ****

"...the performance has a sense of dramatic sponteneity and linearity often missing from more heavily edited versions. Silvia Frigato is suitably dewy-voiced in the title role, while baritone Furio Zanasi is a persuasive Orfeo, shaping the demi-god’s laments and incantations with subtle rhetoric. Bass Antonio Abete makes a formidable Plutone, and sara Mingardo’s androgynous contralto hints at the ethereal quality of the lost castrato voice, so much part of the soundscape of these early operas... Concerto Italiano delivers an eloquent piece of musical story telling."

Kate Bolton - BBC Music magazine - June 2014

                         Repertoire **** (Very Good)       Sound *** (Good)

Arnd Richter - Fono Forum magazine (Germany) - May 2014

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