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Reviewer: Barry
Brenesal
I suspect this album may have
begun with a Mantuan theme, given that both Monteverdi and Salamone Rossi
worked for the Gonzagas—and the irresistibly catchy La Mantovana or Il ballo
di Mantova, the Mantuan Dance, is presented in three successive selections.
If that was ever the case, it was dropped, and the album’s focus is simply
noted as secular music by Monteverdi and Rossi. The former is represented
both by his Il ballo delle ingrate and a suite of eight selections drawn
from L’Orfeo. Rossi in turn supplies four sonatas and two groups of short
pieces, both songs and instrumentals.
My impressions of Clematis
have altered over time. In a review of an album devoted to works by Carlo
Farina (Ricercar 285; Fanfare 33:3) I found them stiff and lacking in
forward pulse, but later ones devoted to music by Matheo Romero (Ricercar
308; Fanfare 34:6) the Vitalis, father and son (Ricercar 326; Fanfare 36:5),
to Cavalli with Mariana Flores (Ricercar 359; Fanfare 39:5), and Legrenzi (Ricercar
356; Fanfare 40:1) revealed deft accents, supple phrasing, and a nice range
of color within a moderately sized ensemble mostly made up of bowed strings.
Their playing is technically refined yet lively, and they are convincing
advocates for music that has lain too long neglected. They’re joined here on seven out of 27 cuts by Zachary Wilder. I’ve found him an excellent tenor in several previous recordings, with great agility, extremely fine enunciation, and an exceptional grasp of bel canto. So it proves on this album, most notably in a version of La Mantovana attributed to Giuseppino del Bialo. The soft accompaniment by Quito Gato’s theorbo and Bernard Zonderman’s guitar helps bring out the warmth of his tone; while his light, deft ornamentation on the repeat of the words “candida vien vermiglia,” and his mezza voce through much of the third verse, conjures up memories of other tenori di grazia who left us celebrated examples of their art a century ago, such as Bonci and Anselmi. Wilder is in no whit their inferior—and that is not hyperbole.
In short,
full recommendation to this latest release by Clematis. It is both a fine
example of their art, and a worthy contribution to circulating the music of
that neglected composer, Salamone Rossi. | ||||
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