Lamenti Barocchi, Vol. 3

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LamentiBarocchi Vol. III (Baroque Laments Vol. 3) Soloists of the Cappella Musicale di S. PetronioSergio Vartolo  Claudio MONTEVERDI (1567- 1643)[l] Lamento d' Arianna Pietro Antonio GIRAMO(fl.1619 - after 1630)[2] Lamento della Pazza Barbara STROZZI (1619 - 1664)[3] Lamento del MarcheseCinq-Mars Giacomo CARISSIMI (1605 - 1674)[4] Lamento della Regina Maria Stuarda Antonio CESTI (1623 - 1669)[5] Lamento della MadreEbrea Luigi ROSSI (1598 - 1653)[6] Lamento della Regina di Svezia Soloists of the Cappella Musicale di SanPetronio[1] Anna Caterina Antonacci, soprano[2] Anna Caterina Antonacci, soprano[3] Anna Caterina Antonacci, soprano ;Alessandro Cannignani, tenor[4] Marinella Pennicchi, soprano ;Alessandro Cannignani, tenor [5] Anna Caterina Antonacci, soprano ;Testo: Alessandro Cannignani, tenor[6] Marinella Pennicchi, soprano; Fortuna:Patrizia Vaccari, soprano; Messaggero: Alessandro Cannignani, tenor; Testo:Furio Zanasi, baritone  Violins:Enrico Casazza, Isabella LongoViolada gamba : Bet tina Hoffmann Chitarrone, theorbo: Andrea Damiani Chitarrone, cittem, colascione, chitarrino: FedericoMarincolaClavicembalo and direction: Sergio Vartolo   TheBaroque lament has its origins in the culture of ancient Greece and its Romanimitators. Aristotle's theory of catharsis, the purification of the emotionsthrough the excitement of pity and fear by events worthy of such feelings, andPlato's views on the subject, as expressed in The Republic, found theirreflection in the aesthetic theories of the sixteenth century. The lamentshould arouse feelings of pity, while at the same time suggesting thefashionable humour of melancholy, one of the four psychological states ofancient and later medical theory. Greek tragedy offers its own examples of thelament and nearer to hand were the popular and accessible Heroides ofOvid, plaintive letters from abused heroines of legend, Dido deserted byAeneas, Penelope left alone for so long by Odysseus, Medea betrayed by Jason.The lament became a current and important feature of Italian Baroque monody,with its rhetorical and therefore dramatic connotations, generally set over afour-note descending bass-line. The best known of all these laments, althoughnot the earliest, must be Monteverdi's Lamento d'Arianna, a laterversion of which, with a sacred Latin text, was included in the composer's Selvamorale e spirituale published in Venice in 1641 (Naxos 8.553318: LamentiBarocchi Vol. 1). In 1607 Monteverdi had provided music for a favola inmusica staged at the court of Duke Vincenzo Gonzaga in Mantua, where thecomposer was maestro di cappella. Orfeo, with a libretto by Alessandrostriggio, has one literary source in the Metamorphoses of Ovid. Thesuccess of Orfeo led, in 1608, to the devising of a new dramatic work, atragedia in musica, a conscious attempt, as the pastoral Orfeo wasnot, to provide a work that should to some extent revive the ancient Greek artof tragedy. With a libretto by Otta