Pur ti Miro

“An entirely new world of sound opened up for me. I had never heard early music like that before: so rich in colour, so immediately moving,” says violist Martin Stegner of his first experience playing Monteverdi with Wu Wei, master of the sheng, the traditional Chinese mouth organ. The range of colours that Wei can coax from his instrument is remarkable, as is the sonic blending of sheng, viola and double bass in this Chinese-German-Finnish trio. Bassist Janne Saksala, who like Stegner, is also a member of the Berlin Philharmonic, shares the violist’s sense of improvisational curiosity. Here the trio plays Claude Monteverdi’s Si dolce è’l tormento and Pur ti miro from L’incoronazione di Poppea, J. S. Bach’s organ trio sonatas Nos 1 and 4, and Antonio Vivaldi’s D minor Trio Sonata, in a programme completed by a Norwegian folk tune. The players “explore the freedom the music offers. With respect, but also with a desire for discovery”.

Corruption? Betrayal? Persecution? Tyranny? These subjects resonate with the current events of the twentieth and twenty-first centuries. They also provide the subject matter of many seventeenth-century musical works. Kate Lindsey has chosen to devote this second Baroque recital with the English ensemble Arcangelo directed by Jonathan Cohen (following Arianna in 2020, ALPHA576) to the figure of Nero. Scarlatti, Handel and Monteverdi wrote works focusing on this tragic protagonist and his entourage, including his mother Agrippina and his wives (Poppaea and Octavia). Interpreted with incredible intensity by the American mezzo-soprano, the programme features world premiere recordings of two cantatas: Alessandro Scarlatti’s La morte di Nerone (c.1690) and Bartolomeo Monari’s La Poppea (1685). Tenor Andrew Staples and soprano Nardus Williams join Kate Lindsey for duets from L’incoronazione di Poppea, including the sensual ‘Pur ti miro’.

This performance from the 1950s sounds surprising after decades of authentic performance. The instruments are modern, the forces large and the style of singing rich, full and almost romantic. Yet the effect is electrifying. All the performers sing with such conviction that this Poppea moved me and it makes some authentic performances sound thin and academic by comparison.

“Some of the most wonderful music in the world” is how William Christie describes Monteverdi’s The Coronation of Poppea, noting in particular the opera’s overriding humanism and interest in questions of morality and ambition. Performed by an exceptional cast of soloists (including Sonya Yoncheva, Kate Lindsey, Stéphanie d’Oustrac…) working with a remarkable stage director, Jan Lauwers, each of the work’s characters is vividly brought to life, accompanied by a reduced ensemble featuring a large continuo section essential for capturing the unique sound world of the composer. This acclaimed production was recorded in 2018 at the prestigious Salzburg Festival.