Operas Discography
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Boston Early Music Festival Announces 2013 Festival
FOR IMMEDIATE RELEASE: April 1, 2012 CONTACT: Kathleen Fay, Executive Director | Boston Early Music Festival 161 First Street, Suite 202 | Cambridge, MA 02142 617-661-1812 | [email protected] | www.bemf.org BOSTON EARLY MUSIC FESTIVAL ANNOUNCES 2013 FESTIVAL OPERATIC CENTERPIECE , HANDEL ’S ALMIRA Cambridge, MA – April 1, 2012 – The Boston Early Music Festival has announced plans for the 2013 Festival fully-staged Operatic Centerpiece Almira, the first opera by the celebrated and beloved Baroque composer, George Frideric Handel (1685–1759), in its first modern-day historically-conceived production. Written when he was only 19, Almira tells a story of intrigue and romance in the court of the Queen of Castile, in a dazzling parade of entertainment and delight which Handel would often borrow from during his later career. One of the world’s leading Handel scholars, Professor Ellen T. Harris of MIT (Massachusetts Institute of Technology), has said that BEMF is the “perfect and only” organization to take on Handel’s earliest operatic masterpiece, as it requires BEMF’s unique collection of artistic talents: the musical leadership, precision, and expertise of BEMF Artistic Directors Paul O’Dette and Stephen Stubbs; the stimulating and informed stage direction and magnificent production designs of BEMF Stage Director in Residence Gilbert Blin; “the world’s finest continuo team, which you have”; the highly skilled BEMF Baroque Dance Ensemble to bring to life Almira ’s substantial dance sequences; the all-star BEMF Orchestra; and a wide range of superb voices. BEMF will offer five fully-staged performances of Handel’s Almira from June 9 to 16, 2013 at the Cutler Majestic Theatre at Emerson College (219 Tremont Street, Boston, MA, USA), followed by three performances at the Mahaiwe Performing Arts Center (14 Castle Street, Great Barrington, MA, USA) on June 21, 22, and 23, 2013 ; all performances will be sung in German with English subtitles. -
The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet -
Swedish Debut at Royal Opera Stockholm with Handel's „Xerxes“
Press release Greek conductor George Petrou – Swedish debut at Royal Opera Stockholm with Handel’s „Xerxes“: 6. February 2015 Greek conductor George Petrou will be making his Swedish debut at the Royal Opera in Stockholm: On 6. February 2015 he will be conducting the revival of “Xerxes” by Georg Friedrich Handel. Katija Dragojevic will be heard in the titel role; other main characters will be represented by Susanna Stern (Romilda), Vivianne Holmberg (Atalante), Johanna Rudström (Arsamenes), Katarina Leoson (Amastris), John Erik Eleby (Ariodates) and Jens Persson (Elviro). The production was directed by Daniel Slater, stage design, costumes and mask by Robert Innes Hopkins. Further performances: 11., 14., 17., 24., 27. February and 3. March. George Petrou has been established as one of the world's leading Handel specialists. Many of his Handel-opera-recordings received important classical music awards like the French Diapason d’Or and Choc du monde de la musique as well as the German ECHO Klassik. For George Petrou “Xerxes” in Stockholm is also a premiere even though he has already conducted selected arias of the opera in the past: “Serse was a turning point in Handel's operatic output. It looked ahead into the future, breaking a great deal of the Opera seria conventions. Apparently it quite shocked the public with its novelty of structure and style, and it wasn't understood. However, it remains one of Handel's top creations.” “Xerxes” is one of the most frequently played operas by Handel. The plot unfolds as a comic rollercoaster of love, jealousy and secret desires in which nothing is quite as it seems. -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Newly Cataloged Items in the Music Library August - December 2017
Newly Cataloged Items in the Music Library August - December 2017 Call Number Author Title Publisher Enum Publication Date MUSIC. MCD3.C63 B37 v.1 Vivaldi, Antonio, 1678- Vivaldi : Venetian splendour. International Masters 2006 2006 1741. Pub., MUSIC. MCD3.C63 B37 v.2 Bach, Johann Sebastian, Bach : Baroque masterpieces. International Masters 2005 2005 1685-1750. Pub., MUSIC. MCD3.C63 B37 v.3 Bach, Johann Sebastian, Bach : master musician. International Masters 2007 2007 1685-1750. Pub., MUSIC. MCD3.C63 B37 v.5 Handel, George Frideric, Handel : from opera to oratorio. International Masters 2006 2006 1685-1759. Pub., MUSIC. MCD3.C63 C63 v.1 Haydn, Joseph, 1732- Haydn : musical craftsman. International Masters 2006 2006 1809. Pub., MUSIC. MCD3.C63 C63 v.2 Haydn, Joseph, 1732- Haydn : master of music. International Masters 2006 2006 1809. Pub., MUSIC. MCD3.C63 C63 v.3 Mozart, Wolfgang Mozart : musical masterpieces. International Masters 2005 2005 Amadeus, 1756-1791. Pub., MUSIC. MCD3.C63 C63 v.4 Mozart, Wolfgang Mozart : classic melodies. International Masters 2005 2005 Amadeus, 1756-1791. Pub., MUSIC. MCD3.C63 C63 v.5 Mozart, Wolfgang Mozart : magic of music. International Masters 2007 2007 Amadeus, 1756-1791. Pub., MUSIC. MCD3.C63 E17 .1 Beethoven, Ludwig van, Beethoven : the spirit of freedom. International Masters 2005 2005 1770-1827. Pub., MUSIC. MCD3.C63 E17 Rossini, Gioacchino, Rossini : opera and overtures. International Masters 2006 v.10 2006 1792-1868. Pub., MUSIC. MCD3.C63 E17 Schumann, Robert, 1810- Schumann : poetry and romance. International Masters 2006 v.11 2006 1856. Pub., MUSIC. MCD3.C63 E17 Mendelssohn-Bartholdy, Mendelssohn : dreams and fantasies. International Masters 2005 v.12 2005 Felix, 1809-1847. -
The Return of Handel's Giove in Argo
GEORGE FRIDERIC HANDEL 1685-1759 Giove in Argo Jupiter in Argos Opera in Three Acts Libretto by Antonio Maria Lucchini First performed at the King’s Theatre, London, 1 May 1739 hwv a14 Reconstructed with additional recitatives by John H. Roberts Arete (Giove) Anicio Zorzi Giustiniani tenor Iside Ann Hallenberg mezzo-soprano Erasto (Osiri) Vito Priante bass Diana Theodora Baka mezzo-soprano Calisto Karina Gauvin soprano Licaone Johannes Weisser baritone IL COMPLESSO BAROCCO Alan Curtis direction 2 Ouverture 1 Largo – Allegro (3:30) 1 2 A tempo di Bourrée (1:29) ATTO PRIMO 3 Coro Care selve, date al cor (2:01) 4 Recitativo: Licaone Imbelli Dei! (0:48) 5 Aria: Licaone Affanno tiranno (3:56) 6 Coro Oh quanto bella gloria (3:20) 7 Recitativo: Diana Della gran caccia, o fide (0:45) 8 Aria: Diana Non ingannarmi, cara speranza (7:18) 9 Coro Oh quanto bella gloria (1:12) 10 Aria: Iside Deh! m’aiutate, o Dei (2:34) 11 Recitativo: Iside Fra il silenzio di queste ombrose selve (1:01) 12 Arioso: Iside Vieni, vieni, o de’ viventi (1:08) 13 Recitativo: Arete Iside qui, fra dolce sonno immersa? (0:23) 14 Aria: Arete Deh! v’aprite, o luci belle (3:38) 15 Recitativo: Iside, Arete Olà? Chi mi soccorre? (1:39) 16 Aria: Iside Taci, e spera (3:39) 17 Arioso: Calisto Tutta raccolta ancor (2:03) 18 Recitativo: Calisto, Erasto Abbi, pietoso Cielo (1:52) 19 Aria: Calisto Lascia la spina (2:43) 20 Recitativo: Erasto, Arete Credo che quella bella (1:23) 21 Aria: Arete Semplicetto! a donna credi? (6:11) 22 Recitativo: Erasto Che intesi mai? (0:23) 23 Aria: Erasto -
Junior Recital: Amy Hebel, Soprano
Kennesaw State University College of the Arts School of Music presents Junior Recital Amy Hebel, soprano Brenda Brent, piano Saturday, March 15, 2014 7:00 p.m Music Building Recital Hall Eighty-ninth Concert of the 2013-14 Concert Season Program I GEORGE FRIDERIC HANDEL (1685-1759) Lusinghe più care from Alessandro (libretto by Rolli) II RICHARD STRAUSS (1864-1949) Einerlei (Von Arnim) Kling!... (Henckell) III CLAUDE DEBUSSY (1862-1918) Pierrot (Banville) Apparition (Mallarmé) IV DOMINICK ARGENTO (b. 1927) when faces called flowers float out of the ground from Songs About Spring (E.E. Cummings) Spring from Six Elizabethan Songs (Nashe) V VINCENZO BELLINI (1801-1835) Ah! non credea…Ah! non giunge from La Sonnambula (libretto by Romani) This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Ms. Hebel studies voice with Jana Young. Program Notes I GEORGE FRIDERIC HANDEL (1685-1759) Born in Halle Germany in 1685, George Frideric Handel began life under the influ- ence of a father who rejected his love of music for monetary reasons. At the age of 7 and with the support of his mother, Handel secretly studied music under the influence of Friedrich Wilhelm Zachow, a composer of vocal and keyboard music in Halle. After juggling a life studying law and music, in 1703 he chose to pursue a career in only music. Known for his work at the Royal Academy of Music in London after gaining widespread popularity with his opera, Rinaldo, he continued compos- ing more than 50 operas, and 30 oratorios. His greatest known work is the Mes- siah, which is still performed worldwide today. -
The Reception of Agrippina, Mother of Nero, in Handel's Opera Agrippina
In die Skriflig / In Luce Verbi ISSN: (Online) 2305-0853, (Print) 1018-6441 Page 1 of 6 Original Research Agrippina as prima donna: The reception of Agrippina, mother of Nero, in Handel’s opera Agrippina Author: This article examines the way in which Agrippina, the mother of the emperor Nero, is depicted 1 Betine van Zyl Smit in Handel’s opera Agrippina. The opera’s libretto, written by Cardinal Vincenzo Grimani, Affiliation: draws upon the historical information in Suetonius’ biography of Claudius and upon the 1Department of Classics and events described in books 12 to 14 of Tacitus’ Annals. The article shows how Grimani juggled Archaeology, University of the chronology, events and relationships among the characters to omit the tragic and gruesome Nottingham, Nottingham, details, and to create a satirical comedy of succession. United Kingdom Keywords: Georg Friedrich Handel; Vincenzo Grimani; Agrippina Opera; Emperor Nero; Corresponding author: Betine Smit, Emperor Claudius; Empress Agrippina; Suetonius’ Biography of Claudius; Tacitus Annals [email protected] 12–14; Opera Libretto; Poppaea Sabina; Otho. Dates: Received: 07 June 2019 Accepted: 25 July 2019 Introduction Published: 31 Oct. 2019 The relationships and events at the heart of the Roman Empire in the middle years of the 1st century AD1 contain plenty of drama and intrigue. The accounts of Tacitus in his Annals and in the How to cite this article: Van Zyl Smit, B., 2019, biographies of the emperors Claudius and Nero by Suetonius, depict a series of marriages and ‘Agrippina as prima donna: murders that would make material for the most lurid fiction. Such events occurred at the courts The reception of Agrippina, of Claudius (41–54) and Nero (54–64). -
Handel MUSIC for QUEEN CAROLINE George Frideric Handel (1685 - 1759)
Les Arts Florissants William Christie Handel MUSIC FOR QUEEN CAROLINE George Frideric Handel (1685 - 1759) MUSIC FOR QUEEN CAROLINE !e King shall rejoice - Coronation Anthem, HWV 260 (1727) Te Deum in D major,“Queen Caroline”, HWV 280 (1714) !e ways of Zion do mourn - Funeral Anthem for Queen Caroline, HWV 264 (1737) LES ARTS FLORISSANTS William Christie,direction Caroline of Ansbach !by Enoch Seeman, c. 1720" Soloists for the Te Deum | solistes du Te Deum: Tim Mead,countertenor | contre-ténor Sean Clayton,tenor | ténor Lisandro Abadie,bass-baritone | baryton-basse !e wife of George II of England, a woman of great beauty and a defender of both science and the arts, Caroline of Ansbach was also a patron and close friend of Handel. !is recording brings together three of the composer’s works written for the major royal ceremonies which marked the life of Caroline from her arrival in England to her funeral. Épouse du roi George II d’Angleterre,femme d’une grande beauté,défenseur des arts et des sciences, Caroline d’Ansbach fut aussi la protectrice et l’amie intime de Handel. Cet enregistrement réunit trois œuvres du compositeur destinées aux grandes cérémonies royales qui, de l’arrivée de Caroline en Angleterre jusqu’à ses funérailles,ponctuèrent son règne. 1 7 | Tracklist | Liste des plages 10 | #e performers | Les interprètes 12 | Fit for a Queen | Des joyaux dignes d’une reine JOHN H. ROBERTS 21 | Sung texts | Textes chantés 26 | Portfolio 32 | Biographies 46 | Discography, DVDs and scores | Discographie, DVD et partitions 3 GEORGE FRIDERIC -
Iphigénie En Tauride
Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
Handel's Agrippina," in Handel Studies: a Gedenkschrift for Howard Serwer, Ed
Handel’s Agrippina: A Critical Study of the Autograph and Early Sources Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Sean Gallagher, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Musicology by Jessica Vincent May 2014 Copyright by Jessica Vincent © 2014 ACKNOWLEDGEMENTS Writing this thesis would not have been possible without the help and support of my professors, colleagues, co-workers, friends, and family. First, I would like to thank my thesis advisor, Sean Gallagher, whose Handel seminar captured my imagination. His expertise and guidance helped shape my thesis and allowed me to discover a facet of musicology about which I am truly passionate. I also must thank my colleague Matthew Heck, who was my research partner during the initial stages of this project. Our meetings and persistent emails challenged me to think about details I otherwise would have overlooked. Of course, I must recognize my terrific professors here at Brandeis. Thanks to Eric Chafe, Seth Coluzzi, and Allan Keiler, without whom I would still be a stranger to the “Tristan chord”, modal theory, and Schenker. To my mentors and co-workers at the Robert D. Farber Archives & Special Collections Department at Brandeis: thank you for showing me the transcendent value of primary sources. I am forever a relentless advocate of archives. I thank my parents, Shane and Jennifer, who continue to encourage and support me in all of my academic endeavors. Last but certainly not least, I would like to thank my wonderful boyfriend, Jake, who dropped everything and moved across the country to support me while I pursued my master’s degree.