Bravo merveilleux et splendide, grandeur et splendeurs des Cieux éternelle... Nos compagnes sont nos campagnes et nos devoirs en commun selon nos besoins et nos jours quotidiens nos leçons nous les connaissons nous les défendons et combattons en armes et l'étendard de la liberté nous avons triomphé et notre fierté et notre volonté pour nos dames et nos femmes qui forment notre âme et nos cœurs soient en paix avec la relève et les successions que nous avons en commun ne soient jamais oublié pour les personnes à venir en devenir ☆ Y chf Bien issu de mon humble cœur pour les libertés et les espoirs. Oui et non aucun sens pour le mot de propos oraux, le cœur et l'âme en témoigne la vérité et le bien fondé sur le vrai ❤
Not much to say about this recording but stunning. I have been researching and writing on Luzzaschi's 12 madrigals for 1-3 soprano since the beginning of the pandemic. I have never heard a performance which so exactly brings to life the music like I imagine Laura Peverara and Luzzasco Luzzaschi would have done in the Ferrarese court of Duke Alfonso II. I could listen to this all day.
Gorgeous! My husband Ray Korns and I are learning so much from the Early Music Sources that now we can truly FEEL and FOLLOW the subtleties and musical (or textual) meanings of Affect. Fabulous soprano and she knows the music and does this with such emotional subtlety and yet power and her pitch is perfect, her range extraordinary, and I love Elam playing the beautiful harpsichord. Love this !! (I am a contemporary "classical" composer who uses inspirations from all historical eras and many styles to evoke music that touches the heart and involves active listening.)
I shared this with a cornetto student in her last lesson at the end of 4 years with me. I said that if, as cornetto players, we can deliver this level of performance then nobody will ever argue with us: beautiful sound across the range (never omitting to look after the low notes which so many cornetto players overlook to do!) phrasing, diction and articulation - everything the cornetto player needs is displayed here in a nutshell. Thankyou Perrine. Simply fabulous. And by the way, who on earth are the 9 jokers who gave the thumbs down?!
Aura soave di segreti accenti Che penetrando per l'orecchie al core Svegliasti la dove dormiva Amore Per te respiro e vivo Da che nel petto mio Spirasti tu d'Amor vital desio Vissi di vita privo Mentre amorosa cura in me fu spenta Hor vien che l'alma senta Virtu di quel tuo spirto gentile Felice vita oltre l'usato stile.
Bravo Perrine! Quel beau travail depuis Proscenium. Tu as une voix magnifique et ce que tu fais est d'une musicalité remarquable; ça fait plaisir de te retrouver ainsi par hasard sur TH-cam. Bon vent pour la suite.
Gorgeous! When I watch the videos with you two I wonder, how Perrine Deviller's voice would blend with the vocal soloists of "profeti della quinta", particularly with Elam Rotem's? I love both, yet somehow suspect Sollazza Ensemble and the profeti create their own distinguished sound cosm
Why does the harpsichordist play the upper voice of the continuo all the time colla parte ? That's not the sense of a continuo settig. The singer sounds beautyful !
The harpsichord part is not an improvised continuo part but it is completely written out. It is a four-voices keyboard arrangement of what is sung, that's why the acompaniment always double the singer part.
@@elinathanferlay1013 So it's better to make his own continuo - or make some corrections. Colla parte is possible for some notes, but all the time, it's not the stand of the art.
@@danielungermann7055 I don't agree : one of the great originallity of this piece is that the accompaniment is completely written out, the harpsichord part is consequently a precious testimony of the late renaissance accompaniment practice before the rise of basso continuo. Replacing the composer's harpsichord accompaniment as it is written by a continuo part would make no sense, pervert the composer's intention and make this piece loose part of what makes it so unique and original.
@@danielungermann7055 And Luzzaschi was one of the great composers of his time : when he wrote this accompaniment like this, he definitely knew what he was doing. Correcting his work just because some aspects do not please to our personal tastes would be quite arrogant. And even more since the colla parte here is not an error but an integral part of the compositional process.
@@elinathanferlay1013 This is not the question. Luzzaschi didn't surely not written out the continuo part. The continuo part is made by the editor, not by the composer. But I think - don't forget that Luzzaschi died in 1607 ! - this is not a continuo part, that's a full score, and in this case, the harpsichordist must leave out the part of the singer. Luzzaschi was the first generation of composers using the continuo technique. For to be shure, one must see the original notation. How I've already said: I think, its a madrigal notation - without an "acompaniment". So the best is, to let the singer perform his part and to play the other parts. But to play colla parte, this is not in style.
Aura soave di segreti accenti che penetrando per l’orecchie al core svegliasti la dove dormiva Amore. Per te respiro e vivo da che nel petto mio spirasti tu d’Amor vital desio. Vissi di vita privo mentre amorosa cura in me fu spenta. Hor vien che l’alma senta virtù di quel tuo spirito gentile felice vita oltre l’usato stile. Gentle breeze of secret words, penetrating the ears of my heart you roused Cupid, sleeping there. For you I breathe and live, ever since into my breast you wafted Cupid’s vital desire. I lived of life deprived while love’s care was extinguished in me. Now come, and let my soul feel the virtue of your kind spirit and a life happier than to which it was accustomed.
Bravo merveilleux et splendide, grandeur et splendeurs des Cieux éternelle...
Nos compagnes sont nos campagnes et nos devoirs en commun selon nos besoins et nos jours quotidiens nos leçons nous les connaissons nous les défendons et combattons en armes et l'étendard de la liberté nous avons triomphé et notre fierté et notre volonté pour nos dames et nos femmes qui forment notre âme et nos cœurs soient en paix avec la relève et les successions que nous avons en commun ne soient jamais oublié pour les personnes à venir en devenir ☆
Y chf
Bien issu de mon humble cœur pour les libertés et les espoirs.
Oui et non aucun sens pour le mot de propos oraux, le cœur et l'âme en témoigne la vérité et le bien fondé sur le vrai ❤
I have to return and see this every so often, because it's sooooo uplifting! Those low notes give me chills!
Extraordinary control. Remarkably light lower register.
It is the ultimate in beauty to hear your voice. Such purity and trueness. Ornamentation is sublime. Thank you for all of your hard work and devotion.
Not much to say about this recording but stunning. I have been researching and writing on Luzzaschi's 12 madrigals for 1-3 soprano since the beginning of the pandemic. I have never heard a performance which so exactly brings to life the music like I imagine Laura Peverara and Luzzasco Luzzaschi would have done in the Ferrarese court of Duke Alfonso II. I could listen to this all day.
WOOOOOW: remarkable voice and impeccable control.
... Bin gerade erst mehr oder weniger zufällig darüber gestolpert: Boa, wunderbar, von Euch beiden! Echt bezaubernd. Danke.
what´s also amazing is that there is no obvious starin in the voice. it looks completely effortless!
Gorgeous! My husband Ray Korns and I are learning so much from the Early Music Sources that now we can truly FEEL and FOLLOW the subtleties and musical (or textual) meanings of Affect. Fabulous soprano and she knows the music and does this with such emotional subtlety and yet power and her pitch is perfect, her range extraordinary, and I love Elam playing the beautiful harpsichord. Love this !! (I am a contemporary "classical" composer who uses inspirations from all historical eras and many styles to evoke music that touches the heart and involves active listening.)
I shared this with a cornetto student in her last lesson at the end of 4 years with me. I said that if, as cornetto players, we can deliver this level of performance then nobody will ever argue with us: beautiful sound across the range (never omitting to look after the low notes which so many cornetto players overlook to do!) phrasing, diction and articulation - everything the cornetto player needs is displayed here in a nutshell. Thankyou Perrine. Simply fabulous. And by the way, who on earth are the 9 jokers who gave the thumbs down?!
Exquisite! What a wonderful, surprising voice and mastering of renaissance vocal embellishments...And lots of thanks to the cembalist....
Che meraviglia. Che meraviglia
The low notes! 😍 0:28 & 0:42
Just incredible. Perfection. What extraordinary talents!
Magnifique! L'accompagnement n'est pas en reste non plus, excellent duo.
Such a pleasure to hear you both! This was splendid.
Oh wow. What a gorgeous voice. Those low notes! Fabulous and a beautiful song
Eccezionale!! Grazie!
What a voice - sublime
Superbe interprétation!Une voix magnifique! Bravo et merci
Brava. Equilibrata.
Sublime
J'aime la mouche à 1:57 !!!
Très beau Perrine...N'oublie pas la sensualité du texte et des intentions de cette superbe soliste Laura Peperara
Luzzaschi died in 1607, in Ferrara. Really spectacular representation (representatione).Verry good, impressing.
Wonderfully talented woman. Beautiful Soul 😃
Incredible rendition! Thanks.
evocatively beautiful........lovely control over her range, and in perfect company.....!!
Che bella! Bravissima!
Magnifico!
Preciosa, :) Gracias!
Such beautiful music. 🌹🥰 And to make music with Elam, so inspiring. 🙏
Heavenly voice .
Maybe the best video on TH-cam
Bravo !!!!
Aura soave di segreti accenti
Che penetrando per l'orecchie al core
Svegliasti la
dove dormiva Amore
Per te respiro e vivo
Da che nel petto mio
Spirasti tu d'Amor vital desio
Vissi di vita privo
Mentre amorosa cura in me fu spenta
Hor vien che l'alma senta
Virtu di quel tuo spirto gentile
Felice vita oltre l'usato stile.
This is a text by Giovan Battista Guarini, not anonym
Absolutely beautiful...
Ma che meraviglia, grazie!
C'est absolument superbe! Un grand bravo!
I think, this was the most impressive performance I ever heard of it.
Many, many thanks.
Great voice and cembalo!!
what a rich, beautiful voice
La perfezione! Davvero complimenti!/ La perfection, vraiment bien faite!
Voice of Angel! :)
I came hear after watching Elam's Gesualdo video. Amazing 🤩 it's so odd to hear how the vocal embellishments work. A totally distinct style.
Truely wonderful. Such a delight to listen to!! Many thanks
Wonderful 👏 Brava!
This is a beautiful recording!
Magnifique !
Magnificient !
Beautiful, suspended in time. Thanks to you both
una interpretació meravellosa. Moltes felicitats!
Hoping to see this and more like it coming out on CD. Beautiful!
Bravissima, meravigliosa
Incredible! magical!
absolute perfection
wonderful
Ausdrucksstarker Gesang
Bravo Perrine!
Quel beau travail depuis Proscenium. Tu as une voix magnifique et ce que tu fais est d'une musicalité remarquable; ça fait plaisir de te retrouver ainsi par hasard sur TH-cam.
Bon vent pour la suite.
Sublime!!!
Belissimo! Bravi!
belissimo
Brava!! Wonderful!
Great!
Gorgeous!
When I watch the videos with you two I wonder, how Perrine Deviller's voice would blend with the vocal soloists of "profeti della quinta", particularly with Elam Rotem's? I love both, yet somehow suspect Sollazza Ensemble and the profeti create their own distinguished sound cosm
I also cannot tell if it´s a mezzo or a soprano voice
Log song
i'm not italian. using a translator. Io non sono italiano. usando un traduttore. :D
tu esssere indiano ?.. ,'-)
Why does the harpsichordist play the upper voice of the continuo all the time colla parte ? That's not the sense of a continuo settig. The singer sounds beautyful !
The harpsichord part is not an improvised continuo part but it is completely written out. It is a four-voices keyboard arrangement of what is sung, that's why the acompaniment always double the singer part.
@@elinathanferlay1013 So it's better to make his own continuo - or make some corrections. Colla parte is possible for some notes, but all the time, it's not the stand of the art.
@@danielungermann7055 I don't agree : one of the great originallity of this piece is that the accompaniment is completely written out, the harpsichord part is consequently a precious testimony of the late renaissance accompaniment practice before the rise of basso continuo. Replacing the composer's harpsichord accompaniment as it is written by a continuo part would make no sense, pervert the composer's intention and make this piece loose part of what makes it so unique and original.
@@danielungermann7055 And Luzzaschi was one of the great composers of his time : when he wrote this accompaniment like this, he definitely knew what he was doing. Correcting his work just because some aspects do not please to our personal tastes would be quite arrogant. And even more since the colla parte here is not an error but an integral part of the compositional process.
@@elinathanferlay1013 This is not the question. Luzzaschi didn't surely not written out the continuo part. The continuo part is made by the editor, not by the composer. But I think - don't forget that Luzzaschi died in 1607 ! - this is not a continuo part, that's a full score, and in this case, the harpsichordist must leave out the part of the singer. Luzzaschi was the first generation of composers using the continuo technique. For to be shure, one must see the original notation. How I've already said: I think, its a madrigal notation - without an "acompaniment". So the best is, to let the singer perform his part and to play the other parts. But to play colla parte, this is not in style.
Aura soave di segreti accenti
che penetrando per l’orecchie al core
svegliasti la dove dormiva Amore.
Per te respiro e vivo
da che nel petto mio
spirasti tu d’Amor vital desio.
Vissi di vita privo
mentre amorosa cura in me fu spenta.
Hor vien che l’alma senta
virtù di quel tuo spirito gentile
felice vita oltre l’usato stile.
Gentle breeze of secret words,
penetrating the ears of my heart
you roused Cupid, sleeping there.
For you I breathe and live,
ever since into my breast
you wafted Cupid’s vital desire.
I lived of life deprived
while love’s care was extinguished in me.
Now come, and let my soul feel
the virtue of your kind spirit
and a life happier than to which it was accustomed.
In Italiano antico suona meglio che in inglese !... ;-)