✓ in stock
06 March 2020
"Needless to say, the CD is listened to with pleasure from beginning to end: for the superb music, for the interpretation that creeps between sacred, profane and theatrical, between instrumental and vocal, demonstrating that one thing is to improvise at the "'ndo cojo cojo", and another is to do so referring to criteria in use at the time."Amadeus, 01-2-2021
Founded by Leonor de Lera in 2015, L’Estro d’Orfeo has been heralded by the critics as an “ensemble of exceptional quality”. Specialising in instrumental music of the late 16th and early 17th centuries, played on period instruments, with an historically informed approach in line with the aesthetics of the time. Their purpose is to champion instrumental music that marked the beginning of a new era and a new concept in music: instrumental virtuosity.
L’Estro d’Orfeo takes its name and inspiration from the Greek legend of Orpheus. Son of the god Apollo, god of the music and the arts; and Calliope, the muse of poetry and eloquence; Orpheus inherited from them the gift of music and poetry. As Apollo was considered the best musician amongst the gods, so Orpheus was considered the best musician amongst the mortals.
L’Estro d’Orfeo released their debut CD “Altri Canti d’Amor” in September 2017 under the Dutch label Challenge Classics, which received rave reviews in leading classical music magazines.
Needless to say, the CD is listened to with pleasure from beginning to end: for the superb music, for the interpretation that creeps between sacred, profane and theatrical, between instrumental and vocal, demonstrating that one thing is to improvise at the "'ndo cojo cojo", and another is to do so referring to criteria in use at the time.
Estro di Orfeo show they can master such difficult art [diminuzione] in both the ancient samples and in new elaborations: these ones are especially interesting as they stay back from the today trendy kitch.
Classic Voice, 01-12-2020
This disc deserves the attention of all lovers of early music, not only because of the fine performances of the written-out pieces, but also - and even more so - because the performers have applied the instructions of the various treatises on ornamentation and diminution in music of their own choice. They have transported themselves to the glorious days of diminutions, and invite the listener to join them.
musica Dei donum, 02-11-2020
The performance by L’Estro di Orfeo is good...
Here again, a Splendid recital, which must be added to that of Onofri.
The performance is crystal clear and virtuoso.
There is a risk that the conventions that the disc honours might throw a blanket of ‘sameness’ across the constituent parts, though this is perhaps only a danger in hands of the less-than-masterly performer and interpreter. That’s certainly not the case here, where, if there is a cohering affinity between the assembled compositions and the manner of performance, it only serves to attest to the veracity and authority of the ensemble’s style and execution. Indeed, it is the contrasts that make the most striking impression. In addition to the opposing ambience of diminutions written on well-known motets and madrigals respectively, there are diverse textures and instrumental sonorities, and countless types of diminution, all of which strive for a different expressive effect: delicacy or majesty, gravity or nonchalance.
Musicweb International, 01-7-2020
CD full of delicious, longing melodies for violin, viola da gamba, baroque guitar, harpsichord and organ, among others, an excellent guide to get to know lesser-known baroque composers from Spain and Italy.
It is the work of a goldsmith, both in the preparation and the interpretation, what they have accomplished, which confirms - and this is the best part - the excellent impression they made with their debut CD (Altri canti d'amor) two years ago with the same record label.
I'll just say that this is a record with plenty of virtuosity and excellence, with a speech of early Baroque style that, in our ears, would pass for native or of having lived a good while in that period.
This colorful disc is a perfect illustration of baroque instrumental rhetoric.
This one protrudes above ground level thanks to the compositions of three of the ensemble members. Throughout the virtuoso and stylish spielereien a different, recognizable face awaits. Posh, Scary and Sporty Spice on baroque instruments: it swings from alpha to omega.
De Standaard, 15-4-2020