Composer: Jacopo Peri
Works: Euridice
Performers: Sylva Pozzer (soprano/Euridice), Luca Dordolo (tenor/Orfeo), Mirko Guadagnini (tenor), Alessandro Gargiulo (tenor), Maria Antonietta Piavan (soprano), Alessandro Carmignani (tenor), Bianca Simone (mezzo-soprano), Luca Ferracin (bass), Matteo Zenatti (tenor), Loredana Putzolu (mezzo-soprano), Marisa Pugina (soprano), Chiara Drago (soprano), Antonio Domenighini (baritone), La Compagnia dei Febi Armonici, Ensemble Albalonga, conducted by Anibal E Cetrangolo
Recording: Chiesa di Santa Maria dei Servi, 1995
Label: Pavane ADW 7372/73 [2 CDs 116.47]
Jacopo Peri’s Euridice, completed in 1600, stands as a pivotal work in the annals of opera, often credited as the first extant opera. Commissioned for the marriage of Henry of Navarre to Marie de Medici, its premiere was a calculated demonstration of the cultural supremacy of the Florentine court. The opera is a testament to the nascent form of opera and the early baroque’s proclivity for blending music with dramatic narrative. Peri’s use of recitar cantando—conversational singing that emphasizes textual clarity—was revolutionary, marking a departure from the more florid styles of the late Renaissance. The modern listener is afforded a glimpse into the origins of operatic expression as Peri deftly intertwines his melodic lines with Rinuccini’s text, aiming to enhance the emotional and narrative thrust.
The performance led by Anibal Cetrangolo reveals a thoughtful interpretation that respects the opera’s historical context while also striving for emotional resonance. Sylva Pozzer, in the role of Euridice, navigates the demanding vocal lines with a commendable balance of clarity and expressiveness, particularly in her poignant aria “Per quel vago boschetto,” where her delivery captures the essence of longing and despair. The tenor, Luca Dordolo, as Orfeo, provides a compelling counterpart, especially in the climactic “Funeste piagge,” where his vocal anguish reflects the depth of his character’s plight with an almost visceral intensity. The ensemble, comprising skilled soloists and the La Compagnia dei Febi Armonici, delivers a cohesive sound that is both polished and engaging, though some moments lack the dramatic weight one might expect from such a seminal work.
The recording itself, captured in the reverberant Chiesa di Santa Maria dei Servi, presents both advantages and challenges. The acoustics lend a lushness to the ensemble sound, particularly during choral passages like “S’Appenin,” where the blend of voices creates a rich tapestry of sound. However, at times, the clarity of individual lines becomes obscured within the reverberation, leading to a muddy texture that detracts from the precision of Peri’s intricate harmonic language. It is a double-edged sword that highlights the beauty of the ensemble while occasionally blurring the distinct contributions of the soloists.
When placed in the context of other recordings of Euridice, such as those featuring more prominent orchestras or soloists, this performance may not reach the lofty heights of interpretative fervor or technical precision. Yet, it stands alone as a commendable effort to revive and celebrate the foundational work of operatic history. The accompanying notes by Cetrangolo offer invaluable insights into the opera’s structure and intent, enriching the listening experience.
Peri’s Euridice, while perhaps not the most polished recording available, emerges as an important historical document that captures the essence of early opera. The performance, while occasionally uneven, provides a stirring reminder of operatic origins and the profound interplay of text and music. This rendition is a worthy addition to the catalog for those interested in the evolution of opera and the perpetuation of its earliest forms.
