For her first disc on Virgin, Christina Pluhar delivers the goods: she remains at the pinnacle of her niche of “popularization” of Baroque music. By popularization, I mean a technique of creating a “nobly bewildering concoction” of popular genres and art music, in this case courtesy of Monteverdi. Thus, after another spider bite similar to those delivered in her earlier releases–i.e., Tarentela on Alpha (Track 4: Damigella tutta bella)–she turns maudlin, but not entirely without dignity (see track 5, a “digest” of the Lamento della Ninfa). At the same time, we learn that Monterverdi invented jazz (Track 2: Ohimè ch’io cado). Next to this, The Four Seasons of Il Giardino Armonico sounds tame. And then, as a bonus, everything is sprinkled with those inimitable “Pluharish sounds” from the Baroque harp, like doughnuts sprinkled with powdered sugar.
Basically the product, like that of Marco Beasley, her ex-partner who exploits the same niche, always offers the same formula, but it’s one that’s infinitely variable. And if your ear loves this stuff, and after Tarantela and Pluhar’s earlier CDs on Alpha your ear has grown accustomed to getting its regular fix, you will naturally want more of the same. As this is the era of downloading, Teatro d’Amore also has its own internet site, and Pluhar has arranged the pieces as on a pop disc. But that’s the magic of Pluhar: you can rationalize and analyze as much as you like. In the end, you have little choice but to surrender your weapons (except, as far as I’m concerned, for that jazz lick, which I surely would have preferred to put in an appendix and certainly not programmed as the second track). Still, as a whole, this CD is joyous and moving. In short, Monteverdi by a magnificent artist, presented in a manner that is either the height of bastardization, or a genuine example of intelligent democratization–you choose!
