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David Denton
David's Review Corner, June 2014

We have reached Delitiae Musicae’s completion of the six books in their acclaimed recording of the Madrigals by Carlo Gesualdo first published together in 1611. We have become accustomed to the highly distinctive sound of the Italian group, but with the whole ensemble now more involved, it places a totally new perspective on their quality in depth…the result is excellent, the complexity of interaction between voices clearly and cleanly defined. As with previous volumes the voices are recorded quite close in a church acoustic, the sound always very attractive. So it is sad that nothing now remains, for each volume has been an event to look forward to. © 2014 David’s Review Corner



J. F. Weber
Fanfare, November 2013

Another set of Gesualdo’s madrigals has now been completed, the last of several recordings marking the quarter-centenary of his death…Marco Longhini’s interpretive approach is just different enough to make this an alternative to the others rather than a competition among them.

All of the recordings…are sung very well and recorded up close. If you started collecting Longhini, don’t hesitate to complete the set. © 2013 Fanfare Read complete review



Catherine Moore
American Record Guide, September 2013

In these interpretations we hear the solitary, isolated, gifted, imaginative, and bereft Gesualdo. There are happy madrigals here too…

…all the singers deserve high praise for their skill in staying on pitch and maintaining breath control. There are passages of astounding beauty here…where sweetness in both the music and the singing is a solace, an oasis, a beacon. © 2013 American Record Guide Read complete review on American Record Guide



Mark Sealey
Classical Net, July 2013

The two books were recorded in two different locations in gently resonant churches near Verona in northern Italy. These spacious yet strangely personal and intimate atmospheres suit the restrained delivery, unhurried tempi and immaculate articulation of Delitiæ Musicæ very well. If you’ve been collecting the earlier volumes in this series, don’t hesitate with this set. If you’re new to the repertoire and/or want to explore a composer who’s often more written about than listened to, this is a great place to start. © 2013 Classical Net Read complete review



David Denton
David's Review Corner, May 2013

We are now in the year 1611, and have come to the end of the complete Madrigals of the Italian composer, Carlo Gesualdo, performed here by Delitiæ Musicæ. Let me briefly comment on the composer who was of aristocratic birth, and as such would not have wished to be seen as a professional composer. So for many years he entrusted the publication of his music to others, denying he had any knowledge of their actions. He even hid from others just how he came to gain the knowledge of composing such music. Yet all of his achievements were overshadowed by the events that took place when, as a young man, he and his servants murdered his wife and her lover in bed. Justice was seen to be done, and the honour of a nobleman retained, though he never mentally recovered, as he was deeply in love with his young wife. To understand that scenario explains the words and content of the forty-five madrigals contained in these three books, for they speak, almost throughout, of love and sadness, the fifth of the Sixth book called I am dying, alas of sorrow. Maybe we should listen to just a few at a time, for they do pour sorrow on sorrow. Though published in his lifetime, with his assistance, and were then reprinted shortly after his death in 1613, the present recording uses the new performing edition by the disc’s conductor, Marco Longhini, and Rosaria Chiodini. As to the performances, we have become accustomed to the highly distinctive sound of the Italian ensemble that relies so much on the countertenor, Alessandro Carmignani. Here he sings almost throughout the three discs, though the madrigals are rather more generous to all the four voices than in many of the earlier works. That I find far more rewarding than having Carmignani cast as a soloist. There are many moments where Gesulado brings rhythmic interest and complexity, as in the Fifth book’s Begone, o my sighs, and if you are coming to these vocal masterworks, I would commend this set of three discs as your starting point. The sound quality throughout is excellent and the use of different venues for each book is not obvious. Very informative disc notes and the words with English translation are included. © David’s Review Corner





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