Sorrows, Prayers
Kate Molleson explores Monteverdi’s later years, from plague and loss to the emergence of public opera in Venice
Kate Molleson explores Monteverdi’s final decades, as Venice becomes a centre for public opera in the aftermath of war and plague. It’s a period of renewal and experimentation, from the theatrical intensity of Il combattimento di Tancredi e Clorinda to the large-scale operas of his later years. With the opening of Venice’s first public opera house, Monteverdi adapts his style, writing music that responds to changing audiences and expectations.
Chiome d’oro, bel tesoro
Nuria Rial, soprano
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Christina Pluhar, director
Il combattimento di Tancredi e Clorinda (extract)
Catherine Bott, soprano (Clorinda)
John Mark Ainsley, tenor (Testo/narrator)
Andrew King, tenor (Tancredi)
New London Consort
Philip Pickett, director
Pianto della Madonna
Alena Dantcheva, soprano
Odhecaton
Paolo Da Col, director
Il ritorno d’Ulisse in patria – Prologue and Act I scene 1
Dominique Visse – L’Umana Fragilità (countertenor)
Michael Schopper – Tempo (bass)
Lorraine Hunt Lieberson – Fortuna (mezzo-soprano)
Martina Bovet – Amore (soprano)
Bernarda Fink – Penelope (mezzo-soprano)
Jocelyne Taillon – Ericlea (contralto)
Concerto Vocale,
René Jacobs, director
L’incoronazione di Poppea – Pur ti miro
Nuria Rial, soprano (Poppea)
Philippe Jaroussky, countertenor (Nerone)
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Christina Pluhar, director
Produced by Ellie Ajao for Â鶹Éç Audio Wales and West
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- Fri 12 Jun 2026 16:00Â鶹Éç Radio 3
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