MONTSERRAT FIGUERAS
La Voix de l’Emotion

Reference: AVSA9889

• Monsterrat Figueras

By the early seventies, the need for a clear break with romantic tradition had been established, and it was now obvious that vocal Early Music needed a new stylistic and technical approach to vocal performance, similar to the one that was already being applied to its instrumental counterpart. This was the time when a few young singers involved in this search began to attract the attention of both critics and the general audience, and amongst them Montserrat Figueras soon rose to be acclaimed as one of the most fascinating exponents of this new attitude.

ALIA VOX
AVSA9889A+A
CD1: 74’48
CD2: 78’55

MONTSERRAT FIGUERAS
LA VOIX DE L’EMOTION · THE VOICE OF EMOTION
Portrait

CD1

1. MEDEA. Invocation : I Nunc iam cessit pontus et omnis partitur leges
II. Venient annis sæcula
Médée (Tragédie, Acte II) – Sénèque (S. I Après JC)

2. Berceuse Amazigh
Anonyme Berbère (Maroc)

3. Romance : Palestina hermoza y Santa
Anonyme Sépharade (Sarajevo)

4. Romance : Triste estaba muy quexosa
Luys Milán (avant 1500-après 1561)

5. Villancico : Si la noche haze escura
Francisco Guerrero (Attribué à)

6. Villancico : Isabel, perdiste la tu faxa
Alonso Mudarra (1510-1580)

7. Chanson : Anchor che co’l partire
Cipriano di Rore – Giovanni Battista Bovicelli (1594)

8. Romance : Como retumban los remos!
Lope De Vega (1562-1635) / Anonyme – Cancionero 1628

9. Antiphone : Salve, Regina à 8, 1572 (extrait)
Tomas Luis de Victoria (1548-1611)

10. Lamento della ninfa : “Amor dov’è la fe”
Claudio Monteverdi (1567-1643)

11. Con le luci d’un bel ciglio, 1614
Giulio Caccini (1551-1618)

12. Canzonetta spirituale sopra la nanna
Hor ch’è tempo di dormire, 1639
Tarquinio Merula (1594-1665)

13. Tono humano : Ay que me río de amor
Juan Hidalgo (1612-1685)

14. Tono humano : Sosieguen descansen
Sebastián Durón (1660-1716)

15. Berceuse : Dors mon enfant, 1798
Johann Friedrich Reichardt (1752-1814)

16. Aria : Ti ricordi che giurasti
Fernando Sor (1778-1839)

17. Seguidilla : Las Mujeres y cuerdas
Fernando Sor (1778-1839)

18. Avec la poupée
La Chambre des enfants, 1970
Modest Petrovich Musorgsky (1839-1881)

19. Berceuse de Noël, 2002
Arvo Pärt (11.9.1935)

CD2

1. Romance : Por que llorax blanca niña (Sarajevo)
Chanson Sefardite

2. Sibila Galaica (extrait)
El Canto de La Sibila – Alfonso X el Sabio, XIIe siècle

3. Cançó : A chantar m’er de so
Comtessa Beatritz De Dia

4. Planctus : O arbre sanct, digne de honor (Maria)
El Misteri d’Elx (La Vespra)

5. Villancico : Niña y viña
Anonyme – Cancionero de La Colombina (CMC) S. XV

6. Villancico : Con qué la lavaré
Anonyme – Luys de Narvaez (Ca.1500-1550/1560)

7. Villancico : Yo me soy la morenica
Anonyme – Cancionero de La Colombina (CMC) S. XV

8. Motet : Ne timeas, Maria (a 4), 1572
Tomás Luis De Victoria (1548-1611)

9. Madrigal : Aura soave
Luzzasco Luzzaschi (Ca.1545-1607)

10. Canzonetta : Si dolce è il tormento (libro nono)
Claudio Monteverdi (1567-1643)

11. Alme Luci Beate
Giulio Caccini

12. Sentirete

·

By the early seventies, the need for a clear break with romantic tradition had been established, and it was now obvious that vocal Early Music needed a new stylistic and technical approach to vocal performance, similar to the one that was already being applied to its instrumental counterpart. This was the time when a few young singers involved in this search began to attract the attention of both critics and the general audience, and amongst them Montserrat Figueras soon rose to be acclaimed as one of the most fascinating exponents of this new attitude.

She was born in Barcelona, began her voice studies with Jordi Albareda, and at a very early age was already singing with the most prestigious Catalan Early Music ensemble, Ars Musicæ, performing the sacred works of the great Spanish polyphonists of the 16 century and of the songbooks of the Court of Charles V, that were to remain at the core of her musical background. In 1968 she married Jordi Savall, and this was the start of an artistic –as well as personal– association that has since then marked the evolution of the whole Early Music revival movement.

+ information in the CD booklet

RUI VIEIRA NERY
Universidade Nova de Lisboa