Podcast appearances and mentions of Claudio Monteverdi

Join The Revd Canon Dr Alison Joyce, Rector of St Bride's, and St Bride's Choir for this week's reflection in words and music. "Christe, adoramus te" – Christ, we adore you – are the opening words of the short but moving choral anthem by Claudio Monteverdi which opens this week's reflection. Monteverdi was maestro di cappella at St Mark's, Venice for 30 years in the first half of the seventeenth century and was an ardent champion of using music to convey the emotional import of words which he achieved beautifully in this motet. Our reading is from the St Matthew's Gospel and includes one of the many biblical Gospel passages that seem bewildering and hard to understand. Alison remembers the uncomfortable reaction of a group of theological students when she read it to them and goes on to offer her understanding of its meaning which is embedded in the challenge of how we respond to Christ's presence in our lives. Our closing hymn is the ever-popular "Lead us, heavenly Father, lead us" by James Edmeston, who wrote a staggering 2000+ hymn texts. This one was written for the Children of the London Orphan Asylum. Edmeston took a great interest in the welfare of orphaned children which is reflected in the line "Guard us, guide use, keep us, feed us." Information about our weekly Sunday services in St Bride's of Choral Eucharist at 11am (www.stbrides.com/worship-music/wo…horal-eucharist/) and Choral Evensong at 5:30pm (www.stbrides.com/worship-music/wo…choral-evensong/) can be found on the website. Find out what's happening at St Bride's at www.stbrides.com/whats-on If you enjoy listening, please leave a comment below or subscribe to our channel. It is great to get your feedback. SUPPORT ST BRIDE'S ================== We are hugely grateful for people's generosity which we wholly rely on to continue our work, maintain our wonderful architectural heritage and support world-class music-making. People are often surprised to learn that St Bride's receives no external funding. If you would like to make a donation, you can do so at www.justgiving.com/stbrideschurchfleetstreet

Kate Molleson explores the life and music of Claudio Monteverdi, following his path from early experiments in Cremona to a career that would reshape European music. Trained in the traditions of Renaissance polyphony, Monteverdi gradually pushed against its limits, developing a more direct and expressive musical language. His years at the Mantuan court brought both opportunity and pressure, as he wrote increasingly bold madrigals and helped to establish opera as a new art form. After a period of upheaval, he rebuilt his career in Venice, adapting his music to new spaces, audiences and expectations as public opera emerged. Across sacred works, madrigals and stage pieces, Monteverdi's writing reflects a composer responding closely to the demands of his time.Featuring excerpts from: Scherzi musicali a tre voci: Damigella tutta bella Sacrae cantiunculae Canzonette a tre voci (Nos. 1–3) Sinfonia for two violins and viola da brazzo Vattene pur, crudel L'Orfeo Madrigali amorosi Cruda Amarilli Io mi son giovinetta Vespers of 1610 Cor mio, non mori? L'Orfeo, Act 5 Lætaniæ della Beata Vergine Il sesto libro de madrigali Pianto della Madonna Zefiro torna e di soave accenti Selva morale e spirituale Beatus vir Chiome d'oro, bel tesoro Il combattimento di Tancredi e Clorinda Il ritorno d'Ulisse in patria L'incoronazione di Poppea: Pur ti miroPresented by Kate Molleson Produced by Ellie Ajao for BBC Audio WalesFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Claudio Monteverdi (1567-1643) https://www.bbc.co.uk/programmes/m002x7t6.And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z (the same every week)

durée : 00:05:33 - Le 13/14 - par : Frédéric Pommier - Le 9 juin au New Morning, il présentera son nouvel album, "Trama Latina", enregistré avec le chanteur belge David Linx et le pianiste argentin Gustavo Beytelmann. Au micro de Frédéric Pommier, le trompettiste de jazz italien Paolo Fresu évoque "Si dolce è il tormento", un madrigal de Monteverdi. - invités : Paolo Fresu Trompettiste, bugliste, compositeur jazz (10 février 1961, Berchidda, Italie) Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Manchmal, wenn Zeit ist, höre ich gerne geistliche Musik. Das ist Musik, die biblische oder liturgische Texte nimmt und sie vertont; ob aus dem Mittelalter von Hildegard von Bingen, Claudio Monteverdi aus der Zeit der Renaissance, Händel, Bach oder Praetorius aus dem Barock und noch sehr viele mehr. Und es ist oft ein sehr diffuses Gefühl: Die Musik entführt scheinbar Geist und Seele in eine ganz andere Sphäre und beschwingt oder wühlt auf, beruhigt oder tut einfach gut.Und ganz oft bleibe ich dann so sehr in den Noten und Klängen gefangen, dass ich Raum und Zeit vergesse und ganz berührt bin, wenn nach langer Zeit ein Nachrichtenjingle kommt oder die CD zu Ende ist. Musik wäscht den Staub des Alltags von der Seele, heißt es nicht umsonst. Und noch ganz anders geschieht es, wenn man selbst singt oder ein Instrument spielt oder elektronisch Musik macht.Vorige Woche ist mir das seit langem mal wieder passiert. Wir haben uns zu viert auf der Orgelempore der Mutterhauskirche getroffen, um zwei wundervolle Gesänge zu üben und zu wiederholen, die wir schon lange kennen, aber nur noch selten singen. Für das Jubiläumsfest einiger unserer Schwestern wollten wir das aber gern mal wieder tun. Und ich bin immer wieder verblüfft darüber, wenn die Melodie angespielt wird und die ersten Töne kommen, dann singt es quasi ganz von allein aus mir heraus. Und es kamen in meinem Hinterkopf ganz viele Szenen wieder deutlich hervor, die mit diesen Gesängen und den Feierlichkeiten aus den ersten Ordensjahren zusammenhängen. Und es war dann, nach der kurzen Probe, den ganzen Nachmittag wie eine Dauerschleife eines Filmes mit dieser wunderschönen Musik.Heute ist vielleicht ein guter Tag, um mal wieder die Lieblingsmusik zu hören oder mal etwas ganz anderes und die Seele mit schönen Klängen umarmen zu lassen. Gönn es Dir. Es wird Dir guttun.

durée : 00:58:52 - Le Cours de l'histoire - par : Xavier Mauduit - De Jean-Sébastien Bach à Benjamin Britten, en passant par Jean-Philippe Rameau et Claudio Monteverdi, le chef d'orchestre Sir John Eliot Gardiner propose une approche érudite et passionnée de la musique. Comment l'histoire accompagne-t-elle le métier de chef d'orchestre ? - réalisation : Maïwenn Guiziou, Thomas Beau, Laurence Millet, Jeanne Delecroix, Jeanne Coppey, Raphaël Laloum, Chloé Rouillon, Sidonie Lebot - invités : John Eliot Gardiner Chef d'orchestre anglais Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:05:07 - par : Max Dozolme - C'est une étude très complète d'un grand air baroque que les éditions fario viennent de faire paraître. L'ouvrage "Claudio Monteverdi : Lamento della ninfa" du musicologue espagnol Ramón Andrés nous invite à découvrir la richesse de ce madrigal intemporel. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:17:05 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Un portrait musical des sentiments qui accompagnent la vie de la Vierge se dessine au gré de pièces vocales et instrumentales baroques de Biagio Marini, Claudio Monteverdi, Tarquinio Merula, Gian Paolo Cima, Paul Goussot, Domenico Mazzocchi, Nicolaus à Kempis... - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:17:05 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Un portrait musical des sentiments qui accompagnent la vie de la Vierge se dessine au gré de pièces vocales et instrumentales baroques de Biagio Marini, Claudio Monteverdi, Tarquinio Merula, Gian Paolo Cima, Paul Goussot, Domenico Mazzocchi, Nicolaus à Kempis... - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Claudio Monteverdis «L'Orfeo» ist nicht die erste Oper der Musikgeschichte – aber ihr entscheidender Wendepunkt. Kaum ein Werk markiert den Übergang von der musikalischen Experimentierlust der Renaissance zur expressiven Dramatik des Barock deutlicher als dieses «Favola in musica» von 1607. In der Diskothek vergleichen wir fünf der neuesten Einspielungen von Monteverdis Meilenstein und fragen: Wo steht die historische Aufführungspraxis heute? Zu Gast sind Silke Leopold, Autorin, Musikwissenschaftlerin und eine der profiliertesten Monteverdi-Kennerinnen unserer Zeit, sowie die Sängerin Silke Gäng, die ihre Perspektive aus der Praxis einbringt.

durée : 00:58:52 - Le Cours de l'histoire - par : Xavier Mauduit, Maïwenn Guiziou - De Jean-Sébastien Bach à Benjamin Britten, en passant par Jean-Philippe Rameau et Claudio Monteverdi, le chef d'orchestre Sir John Eliot Gardiner propose une approche érudite et passionnée de la musique. Comment l'histoire accompagne-t-elle le métier de chef d'orchestre ? - réalisation : Thomas Beau, Laurence Millet - invités : John Eliot Gardiner Chef d'orchestre anglais

Claudio Monteverdi (1567-1643) - La favola d'Orfeo SV 318 (selezione solo strumentale) 00:00 - Prologo: Toccata 01:33 - Prologo: Ritornello02:17 - Atto I: Ritornello02:43 - Atto I: Ritornello 03:24 - Atto II: Sinfonia 04:35 - Atto III: Sinfonia à 7 06:05 - Atto III: Sinfonia06:39 - Atto III: Ritornello 07:32 - Atto III: Sinfonia à 708:18 - Atto IV: Sinfonia à 7 09:02 - Atto V: Sinfonia 09:34 - Atto V: Moresca English Baroque Soloists John Eliot Gardiner, conductor

La Filarmónica Ferrolana clausura este viernes 17 de abril su programación de primavera con un concierto en el Teatro Jofre. El recital estará protagonizado por el trío Favola d'Argo, que ofrecerá un programa de música sacra italiana del siglo XVII bajo el título “O Crux Ave, Spes Unica”. La actuación incluirá obras de compositores como Claudio Monteverdi, reflejando la revolución musical que dio origen a la ópera y a una nueva expresividad centrada en la emoción y el texto. La mezzosoprano Nerea Berraondo será la voz principal en este concierto divulgativo que acercará al público las claves de este repertorio.

Dackefejden, som inleddes vid midsommar år 1542, är det största bondeupproret i Nordens historia. Under ledning av småbonden Nils Dacke attackerades Gustav Vasas fogdar söder om Kalmar. Upproret spred sig snabbt över Småland och vidare till södra Östergötland och Öland.I november samma år hade upprorsmännen kontroll över stora delar av dessa områden, vilket tvingade Gustav Vasa att förhandla om vapenvila. Den 8 november slöts ett avtal om ett ettårigt stillestånd. Men kungen hade aldrig för avsikt att låta en upprorsledare behålla makten.I reprisavsnittet 53 av podden Historia Nu samtalar programledaren Urban Lindstedt med Olle Larsson, fil.dr i historia och lektor vid Katedralskolan i Växjö. Han är aktuell med biografin Gustav Vasa – En furste bland furstar (Historiska Media).Missnöjet mot den "ogudaktige" kungen var stort. Gustav Vasa hade beslagtagit kyrkans egendomar och infört den lutherska läran. Allmogen vägrade överge sina fäders tro. Mässan hölls nu på svenska, vilket kritiker hånade: ”att ett spenebarn snart från en dyngvagn kunde vissla fram en mässa.”Sedan sitt makttillträde hade Gustav Vasa stärkt centralmakten och effektiviserat skatteuppbörden. Folket drabbades av tunga extraskatter. År 1541 konfiskerade kungen 370 kilo silver från kyrkor i Småland.Nils Dacke kom från en småbondesläkt med rötter i både Södra Möre härad (nuvarande Kalmar län) och danska Blekinge. Redan 1536 hade han dödat en fogde och levde därefter som fredlös tills han löste sig fri med 200 riksdaler i böter. Han blev sedermera ledare för Dackeupproret efter att ha angripit fogdar och en frälseman.I mars 1543 sårades Nils Dacke svårt när Gustav Vasas legosoldater träffade honom med en kula genom båda låren. Han flydde, men återupptog kampen vid midsommar. Kungamakten var dock övermäktig, och Dacke tvingades fly mot riksgränsen. Några veckor senare dödades han – upproret var krossat.Efteråt spårades upprorsmännen upp, förhördes under tortyr, avrättades och steglades. Andra fick sina gårdar beslagtagna och tvingades betala dryga böter.Musiken i avsnittet är Quel augellin che canta av Claudio Monteverdi, framförd av The Tudor Consort. Licens: Creative Commons Attribution 3.0 International. Hosted on Acast. See acast.com/privacy for more information.

Andrés Salado nos habla de los dúos vocales. Entre ellos, "Au fond du temple Saint", un canto a la amistad interpretado por Luciano Pavarotti y Nicolai Ghiaurov, o La coronación de Popea, de Claudio Monteverdi. En su dúo final, "Pur ti miro, pur ti godo" ("Te admiro, te gozo"), Nerón y Popea se declaran su amor y, con un lirismo evidente, celebran su unión. Un recorrido emocionante por algunos de los dúos más bellos de la historia de la música.Escuchar audio

Direttore, cantante, didatta e divulgatore musicale, Walter Testolin è stato tra i protagonisti della trama L'eco di Monteverdi, ospitata da una recente edizione di Trame Sonore, Mantova Chamber Music Festival. Alla guida di un imponente ensemble vocale e strumentale, che ha visto uniti RossoPorpora, De labyrintho, La Pifarescha e More Antiquo, sua è stata la lettura del Vespro della Beata Vergine di Claudio Monteverdi nella mantovana Basilica di Santa Barbara… Occasione in cui, a 380 anni dalla scomparsa di Monteverdi, il suo monumentale capolavoro, ha rivisto la luce in uno di luoghi più significativi della sua vita. In quella Mantova che lo ha accolto al servizio dei Gonzaga dal 1590 al 1612.Testolin ci accompagna alla scoperta del monteverdiano Vespro, pagina tra le più importanti e solenni della musica sacra del XVII secolo, data alle stampe nel 1610 con dedica al Papa Paolo V e scritta sopra canti fermi a 6 voci e 6 strumenti. Proprio come indicato nel titolo Vespro della Beata Vergine da concerto composto sopra canti fermi sex vocibus et sex instrumentis. Abbiamo incontrato Walter Testolin, nella sacrestia della Basilica di Santa Barbara proprio in occasione di questa imponente esecuzione.

Direttore, cantante, didatta e divulgatore musicale, Walter Testolin è stato tra i protagonisti della trama L'eco di Monteverdi, ospitata da una recente edizione di Trame Sonore, Mantova Chamber Music Festival. Alla guida di un imponente ensemble vocale e strumentale, che ha visto uniti RossoPorpora, De labyrintho, La Pifarescha e More Antiquo, sua è stata la lettura del Vespro della Beata Vergine di Claudio Monteverdi nella mantovana Basilica di Santa Barbara… Occasione in cui, a 380 anni dalla scomparsa di Monteverdi, il suo monumentale capolavoro, ha rivisto la luce in uno di luoghi più significativi della sua vita. In quella Mantova che lo ha accolto al servizio dei Gonzaga dal 1590 al 1612.Testolin ci accompagna alla scoperta del monteverdiano Vespro, pagina tra le più importanti e solenni della musica sacra del XVII secolo, data alle stampe nel 1610 con dedica al Papa Paolo V e scritta sopra canti fermi a 6 voci e 6 strumenti. Proprio come indicato nel titolo Vespro della Beata Vergine da concerto composto sopra canti fermi sex vocibus et sex instrumentis. Abbiamo incontrato Walter Testolin, nella sacrestia della Basilica di Santa Barbara proprio in occasione di questa imponente esecuzione.

Claudio Monteverdi war ein Neuerer. "Movere", den Hörer emotional zu bewegen, war das Ziel seiner nach "Wahrheit und Natürlichkeit" strebenden Musik. So schrieb er den "Orfeo", die erste "richtige" Oper. (BR 2017)

L'incoronazione di Poppea es una ópera en un prólogo y tres actos, compuesta por Claudio Monteverdi (1567-1643) con libreto de Giovanni Francesco Busenello. Estrenada en 1643 en el Teatro Santi Giovanni e Paolo de Venecia, es una de las primeras óperas de la historia y una cima del Barroco temprano. Narra la historia del ascenso de Poppea, amante del emperador Nerón, hasta convertirse en emperatriz, basada en fuentes históricas romanas como Tácito y Suetonio, pero con un giro dramático y moralmente ambiguo."Crónicas Lunares di Sun" es un podcast cultural presentado por Irving Sun, que abarca una variedad de temas, desde la literatura y análisis de libros hasta discusiones sobre actualidad y personajes históricos. Se difunde en múltiples plataformas como Ivoox, Apple Podcast, Spotify y YouTube, donde también ofrece contenido en video, incluyendo reflexiones sobre temas como la meditación y la filosofía teosófica. Los episodios exploran textos y conceptos complejos, buscando fomentar la reflexión y el autoconocimiento entre su audiencia, los "Lunares", quienes pueden interactuar y apoyar el programa a través de comentarios, redes sociales y donaciones. AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ 

Send us a textThis is the first of what I hope to be a series of 25 podcast episodes regarding some of the most influential and creative musicians prior to the 1900s - all ranked chronologically - then the following month, I will deal to some of the most influential musicians after the 1900s.  It somehow didn't seem right to have Beethoven and the Beatles compete with each other in a list of the greats. Both Bach and Beyoncé are extremely influential in their own ways, but how can you possibly compare the two?Each episode is a conversation across time: we'll explore their lives, their work, and their personalities, with anecdotes, playful commentary, and yes—sometimes a little mischief. You'll hear the human side of genius, the struggles, the bold choices, and the moments of brilliance that made them unforgettable And we begin our journey with the man who changed the very sound of music: Claudio Monteverdi.Support the showThank you for experiencing Celebrate Creativity.

Oudemuziekkenner Kees Koudstaal presenteert de mooiste en recentste CD’s met oude en klassieke muziek. Koudstaal liet zijn oog en oor dit keer vallen op de nieuwe uitgaven van RossoPorpora o.l.v. Walter Testolin, organist Pietro Paganini, Ensemble Clematis en de J.S. Bach-Stiftung St. Gallen.1. Claudio Monteverdi (1567-1643)– Lamento d'Arianna (uit het zesde madrigalenboek)Uitvoerenden: RossoPorpora o.l.v. Walter […]

Send us a textSpring intro“Welcome, my friends, to The Microphone Episode. Yes, this is the one where the.  greatest composers of all time—individuals who shuffled off their mortal coil long ago—are handed a microphone for the very first time.Now you might also think of this episode as a promo or the introduction to the majority of the episodes in October where I take a deep dive into the life and music of approximately 25 noted classical musicians prior to 1900. Before I actually start, I wanna talk a little bit about the challenges involved in doing such a program.First, was the actual writing of the transcript for each podcast episode. I would read about and do research regarding each musician. Then I would know what questions to ask ChatGPT to give me a more interesting answer. For example, if I just asked ChatGPT to tell me about Beethoven - it really wouldn't have that much to go on - but if I specifically asked if Beethoven wrote any letters regarding his hearing loss, then it could give me some very useful answers.  In fact, in one of the most moving documents in all of music history, Beethoven wrote in a letter to his brothers Carl and Johann in October 1802. He was only 31 at the time, but his hearing loss was advancing, and he poured out his despair, frustration, and longing for life and art. He never sent the letter—it was found among his papers after his death in 1827.[Closing music – Spring from The Four Seasons by Antonio Vivaldi, Performed by John Harrison,. Source: Wikimedia Commons - CC BY-SA ,License: Public Domain (composition) / Creative Commons (recording)Ghost Entrance: Source: https://www.zapsplat.com/page/6/?s=ghost&post_type=music&sound-effect-category-idhttps://zapsplat.net/zapsplat-sounds/download.php?fileName=sound_design_texture_ghostly_pass.mp3&expiry=1601608139,LLicense: Creative Commons.“Vespro Della Beata Vergine/ Deus In Adiutorium - Domine Ad Adiuvandum”, by Claudio Monteverdi, Performed by Schwäbischer Singkreis; Hans Grischkat, Source: https://dn721902.ca.archive.org/0/items/lp_vespro-della-beata-vergine_claudio-monteverdi-schwabischer-singkredisc1/01.01.%20Vespro%20Della%20Beata%20Vergine%3A%20Deus%20In%20Adiutorium%20-%20Domine%20Ad%20Adiuvandum.mp3. License: Public Domain (composition) / Creative Commons (recording)  0:00-00:30.Support the showThank you for experiencing Celebrate Creativity.

In deze aflevering van Kalm met Klassiek staat een klein, fladderend vogeltje centraal. En door wie kan die beter vertolkt worden dan door ensemble l'Arpeggiata? Deze muziekgroep staat bekend om haar lichte, sprankelende arrangementen van oude muziek. Op hun nieuwste album 'Terra Mater' brengen ze allemaal werken geïnspireerd op dieren, waaronder dus dit vogeltje, tot leven gewekt door componist Claudio Monteverdi. 'O come sei gentile': "O zo zachtaardig ben jij, lief klein vogeltje"... Klik hier (https://npo.nl/luister/stem/klassieke-top-400-2025) om te stemmen op jouw favoriete klassieke muziek voor de Klassieke Top 400. Je hebt nog tot en met vrijdag. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37).

durée : 00:19:32 - Disques de légende du lundi 22 septembre 2025 - Ce n'est qu'en 1984 qu'a été redécouverte la partition de "La finta pazza", composée en 1641 par un certain Francesco Sacrati, un vénitien proche de ses homologues Claudio Monteverdi et Francesco Cavalli. Un drame lyrique aux inspirations antiques qui retrace une partie du mythe d'Achille. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:19:32 - Disques de légende du lundi 22 septembre 2025 - Ce n'est qu'en 1984 qu'a été redécouverte la partition de "La finta pazza", composée en 1641 par un certain Francesco Sacrati, un vénitien proche de ses homologues Claudio Monteverdi et Francesco Cavalli. Un drame lyrique aux inspirations antiques qui retrace une partie du mythe d'Achille. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Claudio Monteverdi - Non son in queste rive (Nowhere on these banks)Delitiae MusicaeMarco Longhini, conductorMore info about today's track: Naxos 8.555308Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Cantate Deo: questo l'evocativo titolo di una incisione discografica del tenore anglo-partenopeo Marco Beasley. Il cantante applauditissimo in ogni occasione offre un modo originale per scoprire il repertorio religioso italiano scritto per due tenori. Sono gli ultimi sussulti dello stile rinascimentale e i prodromi del fastoso barocco che Quilisma proporrà all'ascolto nella realizzazione che Beasley ha fatto sovrapponendo la sua voce con la tecnica della registrazione ripetuta. In altre parole è sempre lui a cantare entrambe le parti che in fase di editing del cd sono state sovrapposte. Un'esperienza singolare che non appartiene alla tradizione delle incisioni di questo tipo ma che è stata decisiva per realizzare un momento musicale di straordinario impatto emotivo. Si va da brani di Alessandro Grandi e Bonifacio Graziani a composizioni di Biagio Marini, Claudio Monteverdi e Giuseppe Giamberti ed altri ancora che Marco Beasley affronta impeccabilmente con l'inseparabile Guido Morini all'organo e al clavicembalo e alla direzione del suo storico Ensemble Accordone.Prima emissione: 4 luglio 2021

fWotD Episode 2959: Concerto delle donne Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Wednesday, 11 June 2025, is Concerto delle donne.The concerto delle donne (lit. 'consort of ladies') was an ensemble of professional female singers of late Renaissance music in Italy. The term usually refers to the first and most influential group in Ferrara, which existed between 1580 and 1597. Renowned for their technical and artistic virtuosity, the Ferrarese group's core members were the sopranos Laura Peverara, Livia d'Arco and Anna Guarini.The Duke of Ferrara Alfonso II d'Este founded a group of mostly female singers for his chamber music series, musica secreta (lit. 'secret music'). These singers were exclusively noble women, such as Lucrezia and Isabella Bendidio. In 1580, Alfonso formally established the concerto delle donne for both his wife Margherita Gonzaga d'Este and reasons of prestige. The new group included professional singers of upper-class, but not noble, backgrounds, under the direction of the composers Luzzasco Luzzaschi and Ippolito Fiorini. Their signature style of florid, highly ornamented singing brought prestige to Ferrara and inspired composers of the time such as Lodovico Agostini, Carlo Gesualdo and Claudio Monteverdi.The concerto delle donne revolutionized the role of women in professional music, and continued the tradition of the Este court as a musical center. Word of the ladies' ensemble spread across Italy, inspiring imitations in the courts of the Medici and Orsini. The founding of the concerto delle donne was among the most important events in secular music in late sixteenth century Italy. The musical innovations established in the court were important in the development of the madrigal, and eventually the seconda pratica.This recording reflects the Wikipedia text as of 00:30 UTC on Wednesday, 11 June 2025.For the full current version of the article, see Concerto delle donne on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Aditi.

durée : 00:22:31 - Disques de légende du vendredi 09 mai 2025 - En 1983 paraissait chez Erato les " Vêpres de la Bienheureuse Vierge Marie " de Claudio Monteverdi par l'Ensemble de Lausanne, les Saqueboutiers de Toulouse et l'Ensemble d'instruments anciens sous la direction de Michel Corboz

durée : 02:28:48 - France Musique est à vous du samedi 15 mars 2025 - par : Gabrielle Oliveira-Guyon - Une symphonie de Vassili Kalinnikov, un quartet avec piano de Danny Elfman, un madrigal de Claudio Monteverdi et une Rhapsodie roumaine de Georges Enesco : voilà un échantillon de ce que vous pourrez découvrir dans l'émission d'aujourd'hui ! - réalisé par : Emmanuel Benito

Claudio Monteverdi komponierte sicher deutlich mehr geistliche Musik als die überlieferten Werke aus seiner Feder. Eine Vesper zu Ehren der heiligen Maria zu rekonstruieren, ist deshalb alles andere als abwegig. Vincent Dumestre versucht sich an einer solchen Rekonstruktion. Das Ergebnis ist großartig.

Send us a textToday we look at the love children of John Donne and Ben Jonson, a group of monarchist soldiers during the English Civil War.  Collectively known as the Cavalier Poets, they are numerous.  We'll look at some representative poems today by Robert Herrick, Thomas Carew, Richard Lovelace, and the ill-fated and unfortunately named Sir John Suckling.Additional music:"Consort for Brass" by Kevin MacLeod"La Violetta" by Claudio Monteverdi; perf. The Boston Camerata, dir. Joel Cohen"In Town Tonight" by Reginald Dixon; perf. Eric CoatesSupport the showPlease like, subscribe, and rate the podcast on Apple, Spotify, YouTube Music, or wherever you listen. Thank you!Email: classicenglishliterature@gmail.comFollow me on Instagram, Facebook, Tik Tok, and YouTube.If you enjoy the show, please consider supporting it with a small donation. Click the "Support the Show" button. So grateful!Podcast Theme Music: "Rejoice" by G.F. Handel, perf. The Advent Chamber OrchestraSubcast Theme Music: "Sons of the Brave" by Thomas Bidgood, perf. The Band of the Irish GuardsSound effects and incidental music: Freesounds.orgMy thanks and appreciation to all the generous providers!

Direttore, cantante, didatta e divulgatore musicale, Walter Testolin è stato tra i protagonisti della trama L'eco di Monteverdi, ospitata da una recente edizione di Trame Sonore, Mantova Chamber Music Festival. Alla guida di un imponente ensemble vocale e strumentale, che ha visto uniti RossoPorpora, De labyrintho, La Pifarescha e More Antiquo, sua è stata la lettura del Vespro della Beata Vergine di Claudio Monteverdi nella mantovana Basilica di Santa Barbara… Occasione in cui, a 380 anni dalla scomparsa di Monteverdi, il suo monumentale capolavoro, ha rivisto la luce in uno di luoghi più significativi della sua vita. In quella Mantova che lo ha accolto al servizio dei Gonzaga dal 1590 al 1612. Testolin ci accompagna alla scoperta del monteverdiano Vespro, pagina tra le più importanti e solenni della musica sacra del XVII secolo, data alle stampe nel 1610 con dedica al Papa Paolo V e scritta sopra canti fermi a 6 voci e 6 strumenti. Proprio come indicato nel titolo Vespro della Beata Vergine da concerto composto sopra canti fermi sex vocibus et sex instrumentis. Abbiamo incontrato Walter Testolin, nella sacrestia della Basilica di Santa Barbara proprio in occasione di questa imponente esecuzione.

Direttore, cantante, didatta e divulgatore musicale, Walter Testolin è stato tra i protagonisti della trama L'eco di Monteverdi, ospitata da una recente edizione di Trame Sonore, Mantova Chamber Music Festival. Alla guida di un imponente ensemble vocale e strumentale, che ha visto uniti RossoPorpora, De labyrintho, La Pifarescha e More Antiquo, sua è stata la lettura del Vespro della Beata Vergine di Claudio Monteverdi nella mantovana Basilica di Santa Barbara… Occasione in cui, a 380 anni dalla scomparsa di Monteverdi, il suo monumentale capolavoro, ha rivisto la luce in uno di luoghi più significativi della sua vita. In quella Mantova che lo ha accolto al servizio dei Gonzaga dal 1590 al 1612. Testolin ci accompagna alla scoperta del monteverdiano Vespro, pagina tra le più importanti e solenni della musica sacra del XVII secolo, data alle stampe nel 1610 con dedica al Papa Paolo V e scritta sopra canti fermi a 6 voci e 6 strumenti. Proprio come indicato nel titolo Vespro della Beata Vergine da concerto composto sopra canti fermi sex vocibus et sex instrumentis. Abbiamo incontrato Walter Testolin, nella sacrestia della Basilica di Santa Barbara proprio in occasione di questa imponente esecuzione.

durée : 00:12:01 - Le Disque classique du jour du mercredi 28 août 2024 - Stéphane Fuget et son ensemble Les Épopées nous offrent leur version de l'Orfeo, l'opéra en 5 actes de Claudio Monteverdi créé à Mantoue en 1607

durée : 01:29:14 - En pistes ! du mercredi 28 août 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce mercredi matin en compagnie d'Emilie et Rodolphe, on évoque les nouveautés discographiques qui mettent à l'honneur Mel Bonis, George Gershwin, Wolfgang Amadeus Mozart, Claudio Monteverdi, Claude Arrieu, César Franck et Sergueï Prokofiev. En pistes !

durée : 01:29:14 - En pistes ! du mercredi 28 août 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce mercredi matin en compagnie d'Emilie et Rodolphe, on évoque les nouveautés discographiques qui mettent à l'honneur Mel Bonis, George Gershwin, Wolfgang Amadeus Mozart, Claudio Monteverdi, Claude Arrieu, César Franck et Sergueï Prokofiev. En pistes !

durée : 00:12:01 - Le Disque classique du jour du mercredi 28 août 2024 - Stéphane Fuget et son ensemble Les Épopées nous offrent leur version de l'Orfeo, l'opéra en 5 actes de Claudio Monteverdi créé à Mantoue en 1607

Julian Prégardien ist ein wunderbar expressiver Orfeo in der Neueinspielung unter Stéphane Fuget. Ein Titelheld, der auch Töne riskiert, die nicht immer perfekt und restlos schön sind, dafür aber unglaublich ausdrucksintensiv. Eine absolut empfehlenswerte Aufnahme dieses Meisterwerkes.

durée : 01:27:58 - En pistes ! du jeudi 27 juin 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Dans la playlist d'Emilie et Rodolphe ce matin, les œuvres de Frédéric Chopin, Ludwig van Beethoven, Heinrich Schütz, Claudio Monteverdi, Felix Mendelssohn-Bartholdy, Heino Eller, Robert de Visée et Wolfgang Amadeus Mozart. En pistes !

L'opéra raconte une histoire, celle imaginée par le livret, mise en musique par un compositeur et interprétée par des chanteurs lyriques. Il s'agit donc d'un spectacle complet, porté par les accents de l'orchestre.Le théâtre grec, dans l'Antiquité, et certains ballets de cour, à l'époque de la Renaissance, ont pu donner un avant-goût de l'opéra, dont la naissance remonte au début du XVIIe siècle.C'est en effet à ce moment que ce type de spectacle apparaît à Florence, capitale du grand-duché de Toscane. On le doit aux initiatives d'un petit groupe d'artistes et d'intellectuels, la "Camerata fiorentina" ou "Camerata de Bardi".Les musicologues s'interrogent sur le premier opéra à avoir été écrit. Les avis divergent à ce sujet. Si l'on se fonde sur la composition même de l'œuvre, il semble bien que "La Dafne", du compositeur italien Jacopo Peri, ait été le premier opéra jamais composé.En effet, il en écrit la musique, sur un livret d'Ottavio Rinuccini, à l'occasion du carnaval florentin de 1597. Le même musicien compose la musique d'un autre opéra trois ans plus tard, en 1600, sur un texte dû au même librettiste. Il s'agit d'"Euridice", d'après le mythe d'Orphée, qui sera représenté pour la première fois en octobre 1600 au palais Pitti de Florence.Si l'on prend comme critère la représentation de l'œuvre, "Euridice" peut encore être considéré comme le premier opéra. D'autant que Jacopo Peri a introduit dans sa partition des éléments, comme les duos, les chœurs ou les solos, que l'on retrouvera dans tous les opéras à venir.Pour certains, cependant, la première œuvre musicale méritant vraiment le nom d'opéra est l'"Orfeo" de Claudio Monteverdi, sur un livret d'Alessandro Striggio. Créé en février 1607 à Mantoue, cet opéra marque la transition entre la musique de la Renaissance et celle de l'époque baroque.L'opéra italien sera introduit en France, dès le milieu du XVIIe siècle, grâce à Mazarin qui, fin mélomane, fait représenter plusieurs de ces œuvres à la Cour de France. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The marvellous, a key concept in literary debates at the turn of the seventeenth century, involved sensory and perspectival transformation, a rhetoric built on the unexpected, contradictory, and thought-provoking. The composer Claudio Monteverdi (1567–1643) created a new practice in which the expressive materials of music and poetry were placed in concert. This innovative new study of Monteverdi's literary personality integrates musical and poetic analysis to create an approach to text-music relations that addresses scholars of both literature and music.  Roseen Giles' book Monteverdi and the Marvellous: Poetry, Sound, and Representation (Cambridge UP, 2023) illuminates how experiments in language and perception at the turn of the seventeenth century were influenced and informed by the work of musicians of that era. Giles provides a new perspective on the music and poetry of Monteverdi's madrigals through the poetics of the marvellous. In his madrigals, Monteverdi created a reciprocity between poetry and music which encouraged audiences to contemplate their interactions, and, consequently, to listen differently. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the cultures of diplomacy and reception. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The marvellous, a key concept in literary debates at the turn of the seventeenth century, involved sensory and perspectival transformation, a rhetoric built on the unexpected, contradictory, and thought-provoking. The composer Claudio Monteverdi (1567–1643) created a new practice in which the expressive materials of music and poetry were placed in concert. This innovative new study of Monteverdi's literary personality integrates musical and poetic analysis to create an approach to text-music relations that addresses scholars of both literature and music.  Roseen Giles' book Monteverdi and the Marvellous: Poetry, Sound, and Representation (Cambridge UP, 2023) illuminates how experiments in language and perception at the turn of the seventeenth century were influenced and informed by the work of musicians of that era. Giles provides a new perspective on the music and poetry of Monteverdi's madrigals through the poetics of the marvellous. In his madrigals, Monteverdi created a reciprocity between poetry and music which encouraged audiences to contemplate their interactions, and, consequently, to listen differently. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the cultures of diplomacy and reception. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The marvellous, a key concept in literary debates at the turn of the seventeenth century, involved sensory and perspectival transformation, a rhetoric built on the unexpected, contradictory, and thought-provoking. The composer Claudio Monteverdi (1567–1643) created a new practice in which the expressive materials of music and poetry were placed in concert. This innovative new study of Monteverdi's literary personality integrates musical and poetic analysis to create an approach to text-music relations that addresses scholars of both literature and music.  Roseen Giles' book Monteverdi and the Marvellous: Poetry, Sound, and Representation (Cambridge UP, 2023) illuminates how experiments in language and perception at the turn of the seventeenth century were influenced and informed by the work of musicians of that era. Giles provides a new perspective on the music and poetry of Monteverdi's madrigals through the poetics of the marvellous. In his madrigals, Monteverdi created a reciprocity between poetry and music which encouraged audiences to contemplate their interactions, and, consequently, to listen differently. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the cultures of diplomacy and reception. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The marvellous, a key concept in literary debates at the turn of the seventeenth century, involved sensory and perspectival transformation, a rhetoric built on the unexpected, contradictory, and thought-provoking. The composer Claudio Monteverdi (1567–1643) created a new practice in which the expressive materials of music and poetry were placed in concert. This innovative new study of Monteverdi's literary personality integrates musical and poetic analysis to create an approach to text-music relations that addresses scholars of both literature and music.  Roseen Giles' book Monteverdi and the Marvellous: Poetry, Sound, and Representation (Cambridge UP, 2023) illuminates how experiments in language and perception at the turn of the seventeenth century were influenced and informed by the work of musicians of that era. Giles provides a new perspective on the music and poetry of Monteverdi's madrigals through the poetics of the marvellous. In his madrigals, Monteverdi created a reciprocity between poetry and music which encouraged audiences to contemplate their interactions, and, consequently, to listen differently. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the cultures of diplomacy and reception. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The marvellous, a key concept in literary debates at the turn of the seventeenth century, involved sensory and perspectival transformation, a rhetoric built on the unexpected, contradictory, and thought-provoking. The composer Claudio Monteverdi (1567–1643) created a new practice in which the expressive materials of music and poetry were placed in concert. This innovative new study of Monteverdi's literary personality integrates musical and poetic analysis to create an approach to text-music relations that addresses scholars of both literature and music.  Roseen Giles' book Monteverdi and the Marvellous: Poetry, Sound, and Representation (Cambridge UP, 2023) illuminates how experiments in language and perception at the turn of the seventeenth century were influenced and informed by the work of musicians of that era. Giles provides a new perspective on the music and poetry of Monteverdi's madrigals through the poetics of the marvellous. In his madrigals, Monteverdi created a reciprocity between poetry and music which encouraged audiences to contemplate their interactions, and, consequently, to listen differently. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the cultures of diplomacy and reception. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

The marvellous, a key concept in literary debates at the turn of the seventeenth century, involved sensory and perspectival transformation, a rhetoric built on the unexpected, contradictory, and thought-provoking. The composer Claudio Monteverdi (1567–1643) created a new practice in which the expressive materials of music and poetry were placed in concert. This innovative new study of Monteverdi's literary personality integrates musical and poetic analysis to create an approach to text-music relations that addresses scholars of both literature and music.  Roseen Giles' book Monteverdi and the Marvellous: Poetry, Sound, and Representation (Cambridge UP, 2023) illuminates how experiments in language and perception at the turn of the seventeenth century were influenced and informed by the work of musicians of that era. Giles provides a new perspective on the music and poetry of Monteverdi's madrigals through the poetics of the marvellous. In his madrigals, Monteverdi created a reciprocity between poetry and music which encouraged audiences to contemplate their interactions, and, consequently, to listen differently. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the cultures of diplomacy and reception. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The marvellous, a key concept in literary debates at the turn of the seventeenth century, involved sensory and perspectival transformation, a rhetoric built on the unexpected, contradictory, and thought-provoking. The composer Claudio Monteverdi (1567–1643) created a new practice in which the expressive materials of music and poetry were placed in concert. This innovative new study of Monteverdi's literary personality integrates musical and poetic analysis to create an approach to text-music relations that addresses scholars of both literature and music.  Roseen Giles' book Monteverdi and the Marvellous: Poetry, Sound, and Representation (Cambridge UP, 2023) illuminates how experiments in language and perception at the turn of the seventeenth century were influenced and informed by the work of musicians of that era. Giles provides a new perspective on the music and poetry of Monteverdi's madrigals through the poetics of the marvellous. In his madrigals, Monteverdi created a reciprocity between poetry and music which encouraged audiences to contemplate their interactions, and, consequently, to listen differently. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the cultures of diplomacy and reception. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

En el programa de hoy tendremos música de maestros fallecidos hace 380 años. Es decir, en el año 1643. Un año en el que desaparecieron dos de los más grandes compositores de los tiempos antiguos: Claudio Monteverdi y Girólamo Frescobaldi. Pero, además de Monteverdi y de Frescobaldi hoy también recordaremos a otros tres músicos que murieron ese mismo año de 1643: Juan Bautista Comes, Christophorus Demantius y Antoine Boësset. Escuchar audio

A year ago, I posted an episode entitled “The Haunted Opera House” that featured a wide range of spooky, witchy, Halloween-appropriate 20th century operas from Prokofiev to Penderecki. This year I focus in on one of the works from that episode, Ottorino Respighi's 1934 masterpiece La Fiamma, based on a 1908 play on witch hunts and witchcraft in 16th century Norway by the novelist and playwright Hans Wiers-Jenssen entitled Anna Pedersdotter, the Witch. This work also formed the basis for the Carl Dreyer film Day of Wrath. Respighi and his librettist Claudio Guastalla transferred the action to seventh-century Ravenna in the early days of Christianity. Musically the work combines Respighi's interest with Gregorian chant, modal scales and harmonies, and the work of Claudio Monteverdi with his penchant for stunning orchestrations. The dramatically potent result was his most famous operatic work, but after an initial succès d'estime, it has only retained the slightest hold on the operatic fringes. Nevertheless, the heroine Silvana in particular is a role that great sopranos have made their own over the years, including Claudia Muzio, Gina Cigna, Giuseppina Cobelli, and Rosa Raisa (none of whom sadly recorded any excerpts) through Montserrat Caballé, Nelly Miricioiu, Ilona Tokody, Stefka Evstatieva, and Mara Coleva. I tell the story of the opera while offering substantial excerpts, which, in addition to the sopranos mentioned above, also include such operatic heavyweights as James McCracken, Carlo Tagliabue, Deborah Voigt, Giacinto Prandelli, Delcina Stevenson, Felicity Palmer, Juan Pons, Anna Moffo, and Mignon Dunn, among others. Just the thing to scare you out of your skin this Halloween! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

SynopsisAugust 1613 proved to be an especially eventful month in the life and career of Italian composer Claudio Monteverdi. The previous summer his old employer, Duke Vincenzo of Mantua, had died, and Monteverdi was looking for a job.  Fortunately, the position of Master of Music for the Republic of Venice opened up, and, on today's date Monteverdi was probably rehearsing musicians for a trial concert of his music at St. Mark's Cathedral. The concert was a success. Monteverdi got the job, a generous salary, and even a cash advance to cover the move from his home.So much for the good news—on his trip back home, Monteverdi was robbed by highwaymen armed with muskets. In a surviving letter, Monteverdi described the incident in some detail, noting that the muskets were very long and of the flint-wheel variety, and that he lost more than a hundred Venetian ducats.Despite the trauma—and the humiliation of being strip-searched for valuables by one of the robbers—Monteverdi recovered his fortunes in Venice. In addition to his church duties at St. Mark's, he became famous writing a newfangled sort of commercial entertainment called opera, and lived to the ripe old age of 77.Music Played in Today's ProgramClaudio Monteverdi (1567 – 1643) Che dar piu vi poss'io, fr 5th Book of Madrigals Consort of Musicke; Anthony Rooley, conductor. L'oiseau Lyre 410 291