1.Amor, ch'attendi
2.Amor, io parto
3.Tu ch' hai le penne, amore
4.Non ha'l ciel
5.Alme luci beate
6.Vedro'l mio sol
7.Dolcissimo sospiro
8.Dalla porta d'oriente
9.Amarilli mia bella				play
10.Movetevi a pietà				play
11.Belle rose porporine
12.Queste lagrim'amare
13.Torna, deh torna
14.Con le luci d'un bel ciglio

Montserrat Figueras - vocal
Hopkinson Smith - lute, baroque guitar
Robert Clancy - baroque guitar, chitarrone
Jordi Savall - viola da gamba
Xenia Schindler – harp
Schola Cantorum Basiliensis

Giulio Caccini (1551-1618) was an Italian singer and composer. He composed mainly two types of songs: the strophic air and the through-composed madrigal.

He served the Medici court in Florence as music director from 1600.

In reaction to the polyphonic musical style of the Renaissance, he discussed his ideas for a new style of monody, accompanied solo song, in his Le nuove musiche (1602). The monodies in this publication contain expressive melodies accompanied by block chords rather than the traditional polyphony. He abhored excessive ornamentation in vocal lines, a practice singers had adopted during the Renaissance. His vocal lines were simple, syllabic with ornamentation only at appropriate moments. A fine example of this style of composition is his Ave maria.

He was a member of a group of musicians and poets known as the Florentine Camerata. Members of this group created the first operas. In 1600 Caccini and Jacopo Peri both set the poem Euridice by Ottavio Rinuccini (1562-1621) to music. Caccini’s score reflects the style of the madrigals and airs found in his Le nuove musiche.

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Prologo
1. Aria di Romanesca
2. La Tragedia : Io che d’alti sospir

Atto primo
Scena prima
3. Pastore del Coro : Ninfe ch’i bei crin d’oro
4. Euridice : Donne ch’a miei diletti
5. Coro : Al canto al ballo

Scena seconda
6. Orfeo : Antri ch’a miei lamenti
7. Dafne Nunzia : Lassa, che di spavento
8. Dafne Nunzia : Per quel vago boschetto
9. Orfeo : Non piango e non sospiro
10. Arcetro : Ahi mort’ invid’e ria
11. Ninfa del coro : Cruda morte

Scena terza
12. Arcetro : Se fato invido e rio
13. Coro : Se de boschi i verdi onori

Atto secondo
Scena quarta
14. Aria di Romanesca
Venere : Scorto da immortal guida
15. Orfeo : Funeste piaggie ombrosi orridi campi
16. Plutone : Ond’e cotanto ardire
17. Plutone : Trionfi oggi pieta ne campi inferni
18. Coro : Poi che gli etern’imperi

Atto terzo
Scena quinta
19. Aria di Romanesca

Arcetro : Gia del bel carro ardente
20. Aminta : Voi che si ratte il volo
21. Orfeo : Gioite al canto mio
22. Coro : Biondo arcier che d’alto monte Aureo fonde

SCHERZI MUSICALI
Orfeo : Nicolas ACHTEN (baryton)
Euridice : Celine VIESLET (soprano)
Tragedia, Daphne : Magid EL-BUSHRA (contre-tenor)
Ninfa, Venere : Marie de ROY (soprano)
Ninfa, Proserpina : Laurence RENSON (mezzo-soprano)
Arcetro, Caronte : Reinoud VAN MECHELEN (tenor)
Tirsi, Aminta, Plutone : Olivier BERTEN (baryton)
Sarah RIDY, harpe triple
Eriko SEMBA, basse de viole, lirone
Simon LINNE, luth, theorbe, guitare
Francesco CORTI, clavecin, orgue

direction Nicolas ACHTEN (theorbe)

This is only the first surviving opera - Jacopo Peri wrote his "Dafne" in 1597, which is lost. Giulio Caccini just pipped Peri to the post of oldest surviving opera by publishing his Euridice six weeks earlier than Peri's version.

It won't surprise you of course to hear that the style is much like Monteverdi; it's all pleasant enough without being an outstanding work. Out of the three, it's maybe not that hard to comprehend why Monteverdi's version of the Orpheus legend, L'Orfeo, plus his other operas, are better remembered today. However it's interesting to get the chance to hear another example of incipient opera. ---E. L. Wisty, amazon.com

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