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Reviewer:
Fabrice Fitch
Their line-up is essentially the same as that of La Venexiana but without former director Claudio Cavina, and it seems likely that they will complete the cycle begun in their previous incarnation. Thus we have three very contrasted readings: the Gesualdo Consort brighter, Delitiæ Musicæ’s all-male line-up lower and more veiled, and La Compagnia somewhere in between (unlike the other two ensembles, they dispense with countertenors and are a cappella throughout). La Compagnia
don’t follow the published order (there’s no reason why they should), beginning
instead with ‘Ancidetemi pur’, one of Book 3’s highlights. With its striking
initial gesture this is a riveting opener, and these singers are especially good
at such key moments, where the composer takes the lead, as it were; when
textures become denser and more contrapuntal, one wonders whether Cavina’s
guiding hand might have imparted a shade more purpose. That said, La Compagnia
bring out a greater degree of lyricism than their rivals, and many will prefer
these readings for that reason alone. My personal preference would go towards
Harry van der Kamp’s Dutch ensemble on account of their clearer textures in the
mid-range and formal cogency, and a slightly uncomfortable over-exposed sonority
(in the photographic sense) that fits Gesualdo’s temper very well. Nonetheless,
it’s good to have this work, a turning point in the composer’s output, from an
ensemble whose sound has made so much of the running in the recent discography.
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