From the beginning of opera in 17th century Italy, composers established conventions that would persist for more than a century, not least of which was the Prologue, an introductory scene featuring an allegorical personification commenting on the action to come, hearkening back to the chorus of ancient Greek drama. Italian soprano Francesca Aspromonte has selected opening scenes from Claudio Monteverdi's L'Orfeo, Giulio Caccini's L'Euridice, Francesco Cavalli's La Didone, and nine other operas from the early Baroque era, ...
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From the beginning of opera in 17th century Italy, composers established conventions that would persist for more than a century, not least of which was the Prologue, an introductory scene featuring an allegorical personification commenting on the action to come, hearkening back to the chorus of ancient Greek drama. Italian soprano Francesca Aspromonte has selected opening scenes from Claudio Monteverdi's L'Orfeo, Giulio Caccini's L'Euridice, Francesco Cavalli's La Didone, and nine other operas from the early Baroque era, and her first album on Pentatone is a treasure trove of great prologues, sumptuously accompanied by Il Pomo d'Oro under the direction of Enrico Onofri. The clarity, passion, and brilliance of Aspromonte's interpretations enliven these preambles, and she treats the Prologue figure as a living and breathing character, an entity who not only sets the scene, but also provides an emotional connection to the drama. As written, these openings may seem little more than stylized recitatives,...
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