El cant de la Sibil.la & Draumkvedet

Arianna Savall, Petter Udland Johansen, Hirundo Maris

Pubblicato il 17/11/23 su Carpe Diem Records Berlin
Artisti principali: Arianna Savall Petter Udland Johansen Hirundo Maris
Genere: Classica

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Lingua disponibile: inglese

The Song of the Sibyl (in Catalan El Cant de la Sibil·la) is a poem and narrative prophetic song whose origins stretch back to antiquity. It was originally written down as an acrostic in Greek, then translated into Latin by Augustine, and finally was set to music and came down via Provençal song to popular tradition in Catalonia and other lands. Some versions seem to refer to or prophesy the birth of Christ, and it is of an apocalyptic tinge. The notes on this release by soprano Arianna Savall and tenor Petter Udland Johansen go into great detail about the text but could have used a straightforward summary, including an explanation for the " El Cant de la Sibil·la" spelling in the album title (in Catalan, the dot is used to separate two "l" sounds, as opposed to a double "l" consonant). Once listeners figure out what is going on here, they are in for a treat. In Catalan tradition, The Song of the Sibyl is usually sung by a boy or girl. The music has been recorded before, including in Latin by the Boston Camerata in 1974, in Catalan by pop singer Maria del Mar Bonet, and in multiple versions in 1988 by Jordi Savall and Montserrat Figueras. However, this new version has much to recommend it, above all, the haunting voice of Arianna Savall (daughter to Jordi Savall and Figueras). The program immerses the listener as deeply as is possible in this tradition, remote from the modern world in space and time. There are two versions of The Song of the Sibyl, one from Barcelona and one from Girona, related but different. Between them, as a central section, is a rendition of the Draumkvedet, or Dream Poem, from Norway, a mini-epic recounting a dream of the afterlife. This is sung by tenor Petter Udland Johansen, who also contributes simple polyphonic choral interludes to The Song of the Sibyl versions. There are also anonymous instrumental pieces, and overall, the performers offer a convincing guess as to what this music might have sounded like in the medieval era. The addition of the Norwegian monophony is also a compelling way of bringing the Catalan tradition alive; the works offer contrasting realizations of basic medieval ideas. A fascinating release.

© James Manheim /TiVo

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El cant de la Sibil.la & Draumkvedet

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