The passionate lament that follows brings in tenor and bass as a foil to the earthy Kozena and, early on, Monteverdi throws in some dissonant harmonies, crunchy enough to crumple the conservative brow, even in 2016.
Kozena almost flaunts her virtuosity by taking all three roles in the 20-minute Combattimento di Tancredi e Clorinda.
This dramatically charged tale of a famous fatal duel is beautifully underlined with apt ornamentation and vocal gesture; behind her, strings revel in the gutsy primitivism of the writing, with wild tremolos and bold repetitions of one chord that look forward to the opening of Tchaikovsky's 1812.
The mezzo also contributes two heart-wrenching arias from L'incoronazione di Poppea, against Andrea Marcon's swirling harpsichord, signing off in rapturous duet with Prohaska, on Pur ti mio, pretty enough to top the Italian hit parade if there had been one in 1643.
This disc, running for a generous 77 minutes, is a joyous adventure, thanks to the singers and the lively playing of La Cetra Baroque Orchestra under Marcon, showcased in three instrumentals by Monteverdi's contemporaries, Uccellini, Merula and Marini.
Magdalena Kozena, Monteverdi
Verdict: Czech mezzo-soprano and friends bring out the modern in Monteverdi