C. Monteverdi / Lamento della Ninfa [excerpt] 

ahah same here

blessed

Im here because of claptrap.😢

Exactly😂😂😂

❤️❤️

That demon in the cell Edourd is symbolic of everyone who’s ever chosen to be a light in a dark place rather than succumb to circumstance.

And all that, the backdrop to an absolutely fantastic fight sequence. I was like wtf - this anime touches my soul. Lmao. It's been some time I enjoyed something so thoroughly as this.

I think it sounds great because of the church acoustic environment

Am quite thankful nobody sings Renaissance and early Baroque music like its Romantic Italian opera 😭

The song was written by a man

It was written by a man

Back in those days only men were allowed to perform on stage, so it makes sense that this sounds better with a male voice. It was first written with that in mind, I’m sure.

Yep

Now there is no way back.

And down the rabbit hole you go

please anyone correct me if i'm wrong, but this is not a period accurate rendition. it's based on the 'Round M album version as far as i can gather, in which the piece is sung with heavy glissandi, in a soulful, jazzy manner (which i personally find rather jarring, but that's just an aesthetic judgement). the original score doesn't include any glissandi and sounds very different. what i'm saying is that this kind of is pop music as well.

​@@calinguga I must protest. profeti della quinta, seen in the video, is the leading group for historical performance and research. I can bet my life that this is one of the most accurate rendition in existence. I do not know where the concept of rigid performance came from- but early music is not at all like late romantic music. in fact it is one of the most freely interpreted of any kind of music among all of western music. the second practice led by Monteverdi, focused more on singing naturally, in a way that is more similar to speech. many early music treatises explicitly state that the length of the note should be varied on the judgement of the singer so that the singing is more natural, and also state that glissandos (then called portamentos, as the term wasn't used back then) can be as a diminution applied at the liberty of the singer. one of the singers in this video, Elam rotem, has a great channel called early music source on youtube, where you will find a great video on diminutions. it doesn't elaborate or explain portamentos, but still gives an idea to the amount of liberty the performers had and that the music score was just a tool to remember/learn/record the music.

@@calinguga the original score doesn’t “sound” like anything though, right? Or did I misread that

Linda demais! Sensível demais! ❤

How about a wookie? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-bXEAwV4UdY8.html

@@Karlito1118 That was fantastic! Genius.

One day I'd like to hear it sung by a tenor

Similar! I was taking a music literacy class in college in the late 80s, and one weekend I bought a Josquin CD with the Hilliard Ensemble, and a double CD of Monteverdi's libro 8--I don't remember the ensemble that performed it, but I immediately focused on the Lamento and listened to it countless times! I love the countertenor here. I'm a basso singer, so I can't possibly replicate this without falsetto, but I try, every time I hear it!

The words are beautiful in any language, language of love.

I see what you did there.