Texte paru dans: / Appeared in:
Romina Basso collaborates with the Greek continuo trio Latinitas Nostra in this curate’s egg of laments by Italian composers of the seicento. I’m not too sure about the Middle Eastern viola da gamba improvisation that launches Lagrime mie by Venetian noblewoman Barbara Strozzi (a pupil of Cavalli), but Basso sings with emotional virtuosity in an intensely plangent performance. A capriccio by Frescobaldi leads into Monteverdi’s famous lament from his otherwise lost 1608 opera Arianna, in which the performers settle down and let the sentimental rhetoric of the music speak for itself.
selections the continuo accompaniments tend to be characterised strongly, with
some infrequent lapses into wildness. But there is no denying the
instrumentalists are given a full rein to express themselves. This does not
always benefit all of the music all of the time, but these works have been
recorded to high standards before, so there are alternative approaches available
for the faint-hearted. A softly arpeggiated toccata by Kapsberger introduces
Rossi’s depiction of Queen Christina of Sweden’s anguish upon learning of the
death of her husband, King Gustavus Adolphus, in the Battle of Lützen. The
subject matter and style of Rossi’s lament is irreverently satirised in
Squarciato appena avea, attributed inconclusively to Provenzale. Involving four
additional singers, a violinist and a percussionist, this sly comical parody
quoting bawdy folksongs serves as an engrossing endnote and antidote.