ALTRI CANTI D’AMOR
"I was left wanting more"
“The result of this work greatly exceeds any expectations, as well as placing the bar really high for L’Estro d’Orfeo. De Lera is superb in her double position as solo violin and director...”
"Leonor de Lera's virtuoso and inspired violin (fine ornamentation and articulation)"
” […] the cornetto played with remarkable beauty and sensitivity by Josué Meléndez.” “The continuo work by Javier Nuñez is also wonderfully subtle.”
“They play as one, with deft tempo fluctuations, stylish energy, and vivid color.” “This is the ensemble’s debut recording. More, please!”
"The ensemble proves skillful, inspired and competent, especially in the practice of diminutions..."
"Artists worth following"
“They play exceptionally skillfully their historical instruments”
“Accurate, polished, competent execution in the historical current. Excellent”
“Lera offers beautiful historical interpretations, full of nuances and contrasts, which include the legacy of inspirational masters such as Nikolaus Harnoncourt and Jordi Savall.”
“so much exquisite playing and rare and magical music”
"De Lera is admirably complemented by the plucked instrument playing of Josep Maria Martí."
"Director Leonor de Lera's nimble violin and Josué Meléndez silky-smooth cornetto soon make one forget the absence of a singer, and they are ably supported by violin, viola da gamba, chordophones and harpsichord."
"an impressively free-spirited break-out track, this, for gamba player Rodney Prada"
This debut CD of L’Estro d’Orfeo ensemble takes its title “Altri Canti d’Amor” from a madrigal found in Claudio Monteverdi’s Eighth Book of Madrigals. The program focuses on the music of the Seicento Italiano and more precisely on the schools of northern Italy; mainly the Venetian school but also those of Lombardy (Richardo Rognono) and Modena (Marco Uccellini).
It combines both instrumental and vocal pieces- the latter in intrumental versions- connected to the subject of ‘love’. Imitating the voice was one of the main goals that 17th century players aspired to, and something that is often mentioned in the many treatises of the leading theorists of the time. This CD emphasizes the close relationship that existed between the instrumental and the human voice and the resultant influence of the latter (by imitation) on the technique and performance practices of the former. Instruments themselves have their own voice and are as equally capable of “singing”, offering their own timbre and extensive palette of idiomatic and individual colours.
September 08, 2020