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Klassiek - Verschenen op 3 september 2013 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - 4 étoiles Classica - Hi-Res Audio
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Vocale muziek (wereldlijk en religieus) - Verschenen op 1 januari 2013 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - Hi-Res Audio
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Vocale muziek (wereldlijk en religieus) - Verschenen op 24 februari 2015 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - 4 étoiles Classica
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Klassiek - Verschenen op 14 april 2017 | Glossa

Hi-Res Booklet Onderscheidingen Qobuzism - 5 Sterne Fono Forum Klassik
The Vespers for the Blessed Virgin by Monteverdi – Vespro della Beata Vergine – is, so to speak, a work made up of many works. The composer seems to have put everything he had into this piece, which appeared in Venice in 1610. It is as if he wanted to use it as an immense catalogue of all his skills: his facility with ancient and modern styles; with the strict and the flamboyant; with instrumentals, vocals, choruses, solos, parody masses, the magnificat, psalms... Perhaps he wanted to use the work as a CV in Venice, where he would indeed land a job as choirmaster in 1613? The fact that several passages are written for two choirs would seem to support this idea. Elaborate job application or not, in this work Monteverdi has produced one of his most durable masterpieces, which forms a bridge between the late Renaissance - with passages taken from prima practica, the style developed by Palestrina - and the nascent Baroque style, and its seconda practica which was so dear to Monteverda, and which would free the use of dissonance from its old straitjacket. For this recording, Giuseppe Maletto has brought together the rich talents of La Compagnia del Madrigale and the Cantica Symphonia and La Pifarescha ensembles, because it takes a whole lot of talent to give the Vespers the treatment it deserves.
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Klassiek - Verschenen op 18 oktober 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
The Second Book of Madrigals of Carlo Gesualdo provides the focal point for the latest in La Compagnia del Madrigale’s stunning reappraisals of the glories of the Italian madrigal on Glossa. Probably written by Gesualdo between the time of the double honour killing of his first wife and her lover and his subsequent remarriage, the second book presents a sophisticated compositional mastery quite in keeping with the later books, albeit offering a calmer and gentler approach compared to the more tortured and twisted musical and psychological turns found in the last books. Notwithstanding, much is required from the singers on the Secondo libro di madrigali a cinque voci and La Compagnia del Madrigale bring their muchpraised sensitivity to the text, balance of ensemble and dynamic control. In the booklet, both Marco Bizzarini and Giuseppe Maletto investigate the state of mind of this fascinating composer, over four centuries since his death. The substantial second part to this recording offers a set of contrasts with Book 2: nine tracks devoted to madrigalists inspired by Gesualdo’s style, from contemporaries in Nenna, Macque and Palazzotto Tagliavia to the later Sigismondo d’India. A veritable bonus! © Glossa
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Wereldlijke vocale muziek - Verschenen op 28 oktober 2016 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles Classica
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Klassiek - Verschenen op 4 maart 2014 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Uitzonderlijke Geluidsopnamen
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Religieuze vocale muziek - Verschenen op 25 maart 2016 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles Classica
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Wereldlijke vocale muziek - Verschenen op 4 januari 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
With Vieni, dolce Imeneo, La Compagnia del Madrigale make another important halt on their compelling journey across the territory of Italian secular song with a disc devoted to one of the most significant, yet these days somewhat bypassed, composers: Cipriano de Rore. De Rore was a Fleming who enjoyed great success notably in the Italian courts of Ferrara and Parma – but with a prestige which extended up and across Europe. He composed in many genres, but it is the secular madrigal – recorded here – where his skill was most valued, for example in creating extended and expressive melodic lines coupled with innovatory pre-echoes of the “seconda pratica” so triumphantly expressed – albeit amidst great criticism – by Claudio Monteverdi. Recordings – all also on Glossa – of madrigals by Marenzio, Gesualdo and Monteverdi have already demonstrated musical pleasures such as an uncommon vocal blend and delicacy, and a meticulous dynamic control exhibited by the richly experienced members of La Compagnia del Madrigale, and those delights are to be experienced with these 19 madrigals by Cipriano de Rore, composed late in his career. With texts by Petrarch, Ariosto and assorted court poets for these madrigals, essay-writer Marco Bizzarini highlights one of the principal characteristic features of de Rore’s mastery when he points to the disc’s title track, Vieni, dolce Imeneo: the ideal union between poetry and music. © Glossa
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Klassiek - Verschenen op 7 mei 2021 | Glossa

Hi-Res Booklet
With “Lagrime d’amante”, La Compagnia del Madrigale, so accomplished with 16th- and 17th century Italian music and words, turns its attention afresh to the music of Claudio Monteverdi. This new Glossa release, recorded in Cumiana, outside Turin, faithfully conveys the beauty of the ensemble’s vocal blend in a selection of five-part compositions drawn from the Monteverdi of Cremona, Mantua and Venice, but centring on that cornerstone of his art, the Sixth Book. The act of singing whilst weeping – as Marco Bizzarini points out in his booklet essay – is somewhat unfeasible, but time after time Monteverdi strove to overcome that improbability by his music, often calling upon the best Italian poetry of the time: here, the fabulously vivid imagery of Torquato Tasso, Battista Guarini and Petrarch are well served by Monteverdi’s musical response. The programme takes us through various troubled emotional states involving love: a lover dying of love, the “partenza amorosa” (or lovers’ separation), even a shepherd accidentally wounding his loved one, but also the outpouring of grief in the Lagrime d’amante al sepolcro dell’amata, a commissioned madrigal cycle to newly written words lamenting the death in 1608 of the promising singer Caterina Martinelli, a pupil of the composer, but also that of Monteverdi’s wife. This work and others on this recording involved the lamented bass Daniele Carnovich to whom the group pay tribute; the sessions were completed by Matteo Bellotto. © Glossa
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Klassiek - Verschenen op 25 augustus 2011 | Arcana

Booklet