Wonder Women - L’Apreggiata
L'Arpeggiata, under the imaginative direction of Christina Pluhar, continues to be a beacon of innovative early music performance, as vividly showcased in their latest release, Wonder Women. This album, distributed by Erato/Warner, encapsulates a thematic celebration of women composers and stories about women, aptly titled to reflect its focus. For this review, Erato did not provide a PDF booklet to Qobuz, and so I did not have access to the lyrics/translations for this release.
Christina Pluhar, the ensemble's founder and conductor, has consistently pioneered a blend of Baroque music with a colorful array of instrumental textures. Her mastery is palpable throughout the album, where the use of varied plucked continuo instruments alongside dynamic percussion brings each composition to life. Pluhar’s passion for revitalizing and reinterpreting early music has once again created a lush soundstage that engages and challenges traditional perceptions of classical music. A focus on women makes for a good theme, especially apt for those interested in understanding that some women were able to make a professional contribution to music with their names affixed to scores.
The album has an atmospheric depth in sound, with a wide and immersive soundstage, though it does at times cause the vocals to lose some naturalness—a slight departure from the ensemble's earlier works where vocal presentation felt more organic. Despite this, the variety of singers (including my favorite of Pluhar's vocalists, Vincenzo Cappezuto) bring a personal touch to each piece, enhancing the overall narrative of the album.
Instrumentally, Wonder Women is a treasure trove. Maurizio Cazzati's “La Strozza,” an example of the early Baroque "stylus phantasticus," is played with a delightful lightness by violin and cornetto. Another Cazzati piece, “Capriccio sopra sette note,” showcases the ensemble's full instrumental prowess, creating an engaging and dynamic listening experience.
Vocal works are no less impressive. Francesca Caccini’s “Così, perfida Alcina” is delivered with vivid emotion by a colorful mezzo-soprano, while Barbara Strozzi’s “Che si può fare?” is both dramatic and exotic, featuring a lament set over a descending bass line that is quintessentially Baroque in its expressive depth.
A nod to the ensemble’s previous explorations into South American music, the track “La Bruja” uses harp, percussion, and a repeating harmonic sequence to evoke a sense of place and history. The reinterpretation of “La llorona,” sung by Cappezuto, is a highlight, providing a fresh take on a piece familiar to fans of the group, demonstrating the ensemble’s commitment to evolving their repertoire. This piece was featured on their earlier CD entitled Los imposibles and adopts a different performance, not only because of a change in vocalist.
While "Wonder Women" may not surpass some of L'Arpeggiata’s earlier collections in terms of overall impact, it remains a compelling addition to their discography. The album’s thematic unity and the varied vocal timbres offer a rich tapestry of sounds, ensuring that each singer—and indeed, each composer—has a moment to shine, making this release not just a listening experience but a vibrant celebration of women's contributions to music.
This album will undoubtedly appeal to those already familiar with L'Arpeggiata’s work, as well as attract newcomers with its bold reinterpretations and expansive musical narrative. For those enchanted by the amalgamation of historical rigor and creative exploration, Wonder Women is a testament to the enduring power and relevance of women's voices in music, past and present.
