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Christina Pluhar, L'Arpeggiata - Luigi Rossi: La Lyra d'Orfeo (2019)

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Christina Pluhar, L'Arpeggiata - Luigi Rossi: La Lyra d'Orfeo (2019)

Christina Pluhar, L'Arpeggiata - Luigi Rossi: La Lyra d'Orfeo (2019)
EAC | FLAC | Image (Cue & Log) ~ 726 Mb | Total time: 159:26 | Scans included
Classical | Label: Erato | # 9029537230 | Recorded: 2005, 2019

The latest album from Christina Pluhar and her instrumental ensemble L’Arpeggiata sheds new light on the chamber cantatas of 17th century Italian composer, Luigi Rossi. He wrote more than 300 of these works and Christina Pluhar’s new double album includes an impressive number of 21 world premiere recordings, which are the fruit of Christina Pluhar’s research among music manuscripts held in the Bibliothèque Nationale de France and the Vatican Library.

Christina Pluhar, L'Arpeggiata - Mediterraneo (2013)

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Christina Pluhar, L'Arpeggiata - Mediterraneo (2013)

Christina Pluhar, L'Arpeggiata - Mediterraneo (2013)
EAC | FLAC | Image (Cue & Log) ~ 355 Mb | Total time: 66:13 | Scans included
Classical | Label: Erato | 5099946454928 | Recorded: 2012

Christina Pluhar and l'Arpeggiata invite you on a musical cruise that will take you from Portugal to Turkey, following the coasts of Spain, Catalonia, Greece, and Italy, caressed by the rocking of the waves and the captivating dialogue between traditional plucked instruments of the Mediterranean region the qanun, saz, Greek lyre and lavta, the oud and Portuguese guitar and the Baroque strings of l'Arpeggiata.

Christophe Rousset, Herve Niquet, Jordi Savall, Fabio Biondi - Marc-Antoine Charpentier, un automne musical à Versailles (2005)

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Christophe Rousset, Herve Niquet, Jordi Savall, Fabio Biondi - Marc-Antoine Charpentier, un automne musical à Versailles (2005)

Christophe Rousset, Herve Niquet, Jordi Savall, Fabio Biondi, Gérard Lesne, Christina Pluhar - Marc-Antoine Charpentier, un automne musical à Versailles (2005)
PAL 16:9 (720x576) | Français | (Dolby AC3, 2 ch) | 150 min | 7,74 Gb (DVD9)
Classical | Label: Armide | Sub: English, Français, Deutsch | Recorded: 2003

Studio Armide represents magnificent documentary film Olivier Simonnet «Marc-Antoine Charpentier, un automne musical à Versailles». Marc-Antoine Charpentier never had an official function at the court of Louis XIV. In 2004 Versailles finally opened its doors to him for the tercentennial commemorations of his death. The finest performers of baroque music, from Jordi Savall to Christophe Rousset, played the most important works of the time in the Royal Chapel opera house, as well as in the chateau salons and galleries: from instrumental music (Lully’s Alceste) to vocal music (Actéon), from lyric tragedy (Médée) to sacred music (Missa assumpta est Maria). The life of this collaborator of Molière’s and cultural life under Louis XIV are enriched by the participation of conductors and musicians.

Hana Blazikova, L'Arpeggiata, Christina Pluhar - Francesco Cavalli: L'Amore innamorato (2015)

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Hana Blazikova, L'Arpeggiata, Christina Pluhar - Francesco Cavalli: L'Amore innamorato (2015)

Francesco Cavalli - L'Amore innamorato (2015)
Hana Blažíková, soprano; L'Arpeggiata; conducted by Christina Pluhar

EAC | FLAC | Image (Cue&Log) ~ 326 Mb | Artwork included | Time: 01:06:52
Classical, Baroque Opera | Label: Erato | # 0825646166428

With L’Amore innamorato – ‘Love in love’ – Christina Pluhar and L’Arpeggiata return to their own first great love, Italian music of the 17th century, and specifically to composer Francesco Cavalli (1602-1676). A luminary of the glamorous and innovative world of Venetian opera, Cavalli was a protégé of Claudio Monteverdi – the composer around whom L’Arpeggiata built Il teatro d’amore, the ensemble’s first Warner Classics album, which was released in early 2009. “Cavalli’s music excites my passions”, says Christina Pluhar. He composed some 40 operas, some of which have achieved new currency since the 1960s, such as La Calisto, Il Giasone, L’Egisto and L’Ormindo and La Didone. Arias and instrumental numbers from six of his operas feature in L’Amore innamorato. The instrumentalists of L’Arpeggiata are joined for the album – which also includes pieces by two of Cavalli’s contemporaries, Girolamo Kapsperger and Andrea Falconieri – by two sopranos, the Catalan Núria Rial and the Czech Hana Blažíková.

Christina Pluhar, L'Arpeggiata, Barbara Furtuna, Nuria Rial, Philippe Jaroussky - Via Crucis (2010)

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Christina Pluhar, L'Arpeggiata, Barbara Furtuna, Nuria Rial, Philippe Jaroussky - Via Crucis (2010)

Christina Pluhar, L'Arpeggiata, Barbara Furtuna, Nuria Rial, Philippe Jaroussky - Via Crucis (2010)
EAC | FLAC | Image (Cue & Log) ~ 332 Mb | Total time: 70:35 | Scans included
Classical | Label: Virgin Classics | # 694577 | Recorded: 2009

2009 release from L'Arpeggiata, the French-based ensemble directed by Austrian-born harpist and lutenist Christina Pluhar. L'Arpeggiata has made a speciality of exploring and exploiting the close links between Baroque repertoire and the traditional music of the Latin world and its characteristic forms such as the tarantella, the folia or the canario. On Via Crucis, 'the way of the Cross', the focus is on the pervasive presence of religious feeling in Southern Europe. The Passion of Christ evokes the same fervour in composers such as Giovanni Felice Sances (1600-1679) or Tarquinio Merula (1594-1665) - both active in northern Italy – as it does in the streets of Naples or the villages of Corsica. The two main works in the collection are Sance's extraordinary Stabat Mater and Merula's Hor ch'e tempo di dormire, in which the Virgin Mary lulls her baby to sleep while weeping for his future suffering and both enthrall the listener with a basso ostinato and hypnotic swaying rhythms.

Christina Pluhar, L'Arpeggiata, Philippe Jaroussky - Music for a While: Improvisations on Purcell (2014)

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Christina Pluhar, L'Arpeggiata, Philippe Jaroussky - Music for a While: Improvisations on Purcell (2014)

Christina Pluhar, L'Arpeggiata, Philippe Jaroussky - Music for a While: Improvisations on Purcell (2014)
EAC | FLAC | Image (Cue & Log) ~ 418 Mb | Total time: 76:19 | Scans included
Classical | Label: Erato | # 08256 463375 0 7 | Recorded: 2013

After the intoxicating heat of Mediterraneo, released in 2013, Christina Pluhar and her ensemble L'Arpeggiata now head to the cooler climes of England with Music for a While, an album based on the haunting, graceful and sometimes deeply moving music of Henry Purcell.
Often considered England's greatest composer, Purcell (1659-1695) represents an especially good match for the aesthetic of L'Arpeggiata: he made frequent use of the ground bass, a repeated (ostinato) figure in the lower line, the most famous instance of this occurs in Dido's lament 'When I am laid in earth', the closing number from his opera Dido and Aeneas. The ground bass provides an ideal foundation for the brilliant, sometimes jazz-like improvisation that is the stock-in-trade of the L'Arpeggiata, here comprising singers, (plucked) strings, wind instruments, keyboard and percussion.

Christina Pluhar, L'Arpeggiata - Monteverdi: Teatro d'Amore (2009)

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Christina Pluhar, L'Arpeggiata - Monteverdi: Teatro d'Amore (2009)

Christina Pluhar, L'Arpeggiata - Monteverdi: Teatro d'Amore (2009)
EAC | FLAC | Image (Cue & Log) ~ 277 Mb | Total time: 59:46 | Scans included
Classical | Label: Virgin | # 5099923614024 | Recorded: 2009

Bright and inventive, the early-music vocal and instrumental group l’Arpeggiata—steered by intrepid theorbist and baroque harpist Christina Pluhar—takes us on an unapologetically idiosyncratic journey through Monteverdi. The Renaissance composer’s avant-garde tendencies are by turns revealed and exploited, most aggressively in the jazzy basso continuo cum walking bass of Ohimè ch’io cado and the swing treatment of the celebrated Chiome d’oro, but also, more subtly, in the gentle rubato of Pur ti miro, the light syncopation of Damigella tutta bella, and the adult-contemporary/Buena Vista Social Club–infused ostinato of Amor. Even seemingly familiar Renaissance fare (Sinfonie & Moresca) receives a late infusion of slightly alien percussion. But the goal ultimately is not cheap fusion nor a cynical popularization of the already accessible, but a rather pleasing reminder that while musical innovation spans centuries, genius grooves from Monteverdi and Mingus may share more than is readily apparent.
– Ben Finane