DOCSLIB.ORG

Index of Handel's Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Index of Handel's Works In this index and the one following references to tables are given in italics. Acis and Galatea, 168, 210, 213, 214, Concerti Grossi op. 3, 254-70, 271 217 Concerti Grossi op. 6, 57, 168, 261-2, Admeto, 95, 100, 115, 155 268,287-8 Agrippina, 5, 9, 63, 89, 90, 90 Concerto a due cori in B flat Hwv332, Alcina, 89, 95, 272 286 Alessandro (Rossane), 27, 98, 115, Concerto in D Hwv335a, 56 130, 150, 155, 161, 172, 177, 281 Concerto in F HWV335b, 56 Alexander's Feast, 85, 89, 272, 287 Concertos for organ, 168, 271 Allegro, il Penseroso ed il Moderato, Coronation Anthems (The King shall L', 21-2, 168, 170, 180 re;oice), 8 Almira, 90 Crude/ tiranno Amor, 29 Amadigi di Gaula, 15, 95, 115, 138, 156,257,259,264,281 Deborah, 266, 271 Apollo e Dafne, 1 Deidamia, 142, 165, 168 Arianna in Creta, 22, 89, 115 Dettingen Anthem (The King shall Arias, 9 German, 6 re;oice), 191 Ariodante, 10, 95, 179 Dettingen Te Deum, 73, 191 Arresta il passo, 90 Dixit Dominus, 11, 224, 229 As pants the hart (Anthem no. 6), 55, Duets, Chamber, 222-45 215, 217, 257, 259. See also Duets, Italian, 30 Chandos Anthems Atalanta, 88, 89, 167, 179 Elpidia (arr.), 150, 154 Athalia, 1, 7, 266, 271, 272 Esther, 7, 22, 210, 217, 266, 271, 272 Aylesford pieces for harpsichord, 6 Ezio, 10, 94, 95, 105-12 Berenice, 56, 95 Faramondo, 89, 114 Blessed are they. See Foundling Fireworks, Music for the Royal, 4, 56, Hospital Anthem 57 Brockes Passion, 11, 33, 258, 260, 261 Flavia, 100, 149, 154, 285 Floridante, 29, 31, 130, 150, 153 Cantatas, Italian, 16, 29, 246-53 Flute sonata in E min. Hwv379, 282 Cantatas, lost German sacred, 55 Foundling Hospital Anthem, 25, 55 Chamber duets: see Duets, chamber Fugue in B flat (keyboard) Hwv607, Chandos Anthems, 16, 27, 30, 31-3, 258 210, 216, 217, 257, 258, 259, 262, Fugue in G (keyboard) HWV606, 259, 264 262 Chandos Te Deum, 31, 258, 262 Fugues, Six, Hwv605-10, 33 Chapel Royal music, 16, 26, 51 Funeral Anthem for Queen Caroline, Clori, Tirsi e Fileno, 13 55, 56, 87 291 HANDEL TERCENTENARY COLLECTION Gideon, 189 Rinaldo, 15, 16, 21, 89, 93, 95, 96, Giove in Argo, 167 102, 115, 120-33, 138, 218 Giulio Cesare, 10, 17, 42, 115, 151 Rodelinda, 15, 151, 154 154 , Rodrigo (Vincer se stesso e Ia maggior Giustino, 89, 95 vittoria), 15, 90, 144 Grand Concertos: see Concerti Grossi Roman Vespers, 17 Rossane: see Alessandro Hercules, 7, 89, 105, 173 Salve Regina, 282 Imeneo, 1, 19, 168 Samson, 2, 65, 89,171,180,182 Israel in Egypt, 48, 56, 73, 77 84 89 166 , , , Saul, 77, 89 Scipione, 27, 98, 155 Semele, 1, 7, 17, 89, 172, 173 182 286 , , Jephtha, 89 Joseph and his Brethren, 172, 182-208 Serse, 89 Silla, 36, 95, 96-8, 115, 116 130 131, 213 , , King shall rejoice, The (Coronation Anthem), 8 Sing unto God: see Wedding Anthem King shall rejoice, The: see Dettingen for the Prince of Wales Anthem Siroe, 98, 115, 155 Solomon, 4, 7, 56, 89 Sonata for Flute HWV379, 282 Laudate pueri in D, 227 Sonata for Violin in D minor Laud~te pueri in F, 47, 50, 53, 54 HWV359a,282,286 Lotarto, 42, 95, 98, 105, 112, 115 Suite in D min. (2nd Collection, no. 4) for harpsichord HWV437 52 Messiah, 3, 4, 8, 12, 23, 25, 28, 49, Suite no. 3 in D min. Hwv·h8 259 67,180,182,242 Suite no. 6 in F sharp HWV43i, 259 Muzio Scevola, 15, 63, 150, 150 Susanna, 7 Occasional Oratorio, 89 Tamerlano, 146, 151, 154, 164 Ode for St Cecilia's Day, 89, 168 Ode for the Birthday of Queen Anne Te Deum: see Chandos, Dettingen, 33 , Utrecht Teseo, 5, 15, 18, 95, 115, 138, 213 Oratorium, The: see Esther Theodora, 89 Organ Concertos: see Concertos for Organ Tolomeo, 155 Trionfo del Tempo e del Disinganno, Orlando, 95, 105, 115, 119, 128, 266 Ormisda, 150 II, 145, 271 Trionfo del Tempo e della Verita II Ottone, 19, 98, 154, 259, 266 166 ' , Overtures, French, 281 Trio Sonata op. 2 no. 1 HWV386 288-9 , Parnasso in festa, 95 Trio Sonata op. 2 no. 2 in G min. Partenope, 149, 150 HWV387, 53 Pastor fido, II, 89, 95, 213, 259, 266 Tu fedel? tu costante?, 90 Poro, 95, 105 Psalm settings, 55 Utrecht Jubilate, 260, 261 Utrecht Te Deum, 220, 258, 261 Radamis~o, 16, 95, 98, 139, 140, 153 Resurreztone, La, 21 Ricardo I, 95, 98, 115, 155 Venceslao, 146, 149 292 Index of Handel's Works Vincer se stesso e Ia maggior vittoria: Ways of Zion do mourn, The: see see Rodrigo Funeral Anthem Wedding Anthem for the Prince of Water Music, 4 Wales (Sing unto God), 85 293 General Index Abbatini, Antonio Maria, 4 7 Arbuthnot, Robert, 214 Aberdeen: Marischal College, 214 Arena, Giuseppe, 176 Abraham, Gerald, 6, 85 Arianna in Nasso: see Porpora, N. Actus musicus auf Weihnachten: see Aria with 24 variations: see Krieger, J.P. Schelle, J. Ariosti, Attilio, 140, 243 Addison, Joseph, 68, 71, 113, 116, 123, __,Aquila Consolo, 154 133, 136, 146 __, Artaserse, 154 __, Rosamond, 131 __, Coriolano, 100, 140, 154, 164 Aitken, George A., 214 __, Daria, 154 Albemarle, Earl of, 142, 152, 155 __, Elisa (?arr.), 154 Alberti, Johann Friedrich, 56 __,Lucio Vero, 155 Albinoni, Tomaso Giovanni, 87, 132 __, Teuzzone, 150, 155 Alceste: see Lampugnani, G. B. __, Tito Manlio [doubtful], 95 Alessandro in Persia (pasticcio): see __, Vespasiano, 115, 154 Galuppi, B. (arr.) Aristodemo, tiranno di Cuma (pasticcio): Almahide: see Bononcini, G. see Pescetti, G. B. Alphonso: see Lampugnani, G. B. Aristotle, 68, 69 Amadei, Filippo, 144, 145, 146 Arminio (Anon.), 156 __ Arsace, 153 Arne, Thomas, 270, 275 __ Muzio Scevola, 153 Arnold, Samuel, 5, 15, 32 Amadis: see Lully, J.- B. Arnstadt, 51 American Handel Society, 26 Arrigoni, Carlo, 143, 159 Amersham, 209, 214 Arsace: see Amadei, F., and Orlandini, Aminta: see Tasso, T. G.M. Amor d'un ombra e gelosia d'un aura Arsace (Amore maesta): see Gasparini, (Narciso): see Scarlatti, D. M.A. Amore e maesta (Arsace): see Gasparini, Artaserse: see Ariosti, A. M.A. Astarto: see Bononcini, G. Amorevoli, Angelo, 170 Astianatte: see Bononcini, A. M., or Amari d'Ergasto, Gli: see Greber, J. Bononcini, G. Amsterdam, 44, 254 Astorga, Emanuele d', 66 Angelica e Medora: see Pescetti, G. B. August, Duke of Saxony, 45, 46 Anne, Princess, 268 Aylesford Collection, 24, 41, 264, 266 Anne, Queen, 120, 130, 131, 132, 133, 209,214,215,217,220 Bach, Johann Sebastian, 2, 3, 4, 5, 9, Annet, Peter, 191 11, 21, 45, 48, 49, 51, 52, 57, 66, Aquila Consolo: see Ariosti, A. 76,86, 87,246,275-6 Aragoni: see Arrigoni, Carlo __, Christmas Oratorio, 48 Arbuthnot, Anne ('Nanny'), 215, 217 __,Concertos, keyboard, 275-6 Arbuthnot, John, 152, 210, 212, 213, __, Fugue for organ on theme by 214,215,216,217,218 Carelli, B minor (Bwv579), 87 294 General Index __, Fugue for organ on theme by Blathwayt, Colonel John, 141, 144, Legrenzi, C minor (swv574), 87 145, 152 __, Fugues for keyboard on themes Blathwayt, William (jun.), 144 by Albinoni, A (swv950 and 951), Blathwayt, Sir William, 144 87 Blenheim, 188 __, Sanctus in D (swv241), 87 Bliss, Sir Arthur, 8 Bacon, Francis, 72 Blount, Thomas, 93 Bagnal, Mr, 143 Bologna, 148, 224 Baldassari, Benedetto, 148 Boniventi, Giuseppe, 247 Balfour, Arthur James, 74-5 Bononcini, Antonio Maria: Astianatte, Barenreiter, Kassel, 9 148, 150, 164 Baron [Michel Boyron], 184 __, Griselda, 150 Baroness, the, 134 Bononcini, Giovanni, 66, 132, 140, Barrow, Thomas, 24 143,145,162,224, 246,24G 248 Baselt, Bernd, 13, 14, 20, 21, 22, 77, __, Almahide, 134 78-9,251 __, Astarto, 146, 150, 153 Bath, 210 __, Astianatte, 150, 155 Bath, Marquis of, 70 __, Calfurnia, 15 4 Bath Journal, 135 __, Crispo, 150, 153 Bathurst, Lord, 158 __, Duetti da camera op. 8, 224 Baxter, Rev. George, 213 __, Etearco, 115 Bedford, John Russell, Duke of, 158 __, Erminia, 150, 154 Beecham, Sir Thomas, 4, 7 __, Farnace, 150, 154 Beek, Graydon, 16 __,Griselda, 150, 153 Beethoven, Ludwig van, 2, 3, 5, 9, 13, __, Muzio Scevola, 153 61, 80, 84 __, Odio e /'Amore, L' (Ciro), 153 Beger, Andreas, 44 __, Trionfo di Camilla, Regina de Beger, Magdalena, 44 Volsci, II, 115 Beggar's Opera, The: see Gay, John __, Vi conosco occhi buggiardo, 35 Belgium, 145 Bordoni, Faustina, 17, 148, 150, 161, Bellini, Vincenzo, 17 164 Bennett, Joseph, 6 Borosini, Francesco, 147 Berenstadt, Gaetano, 100, 156, 225 Boschi, Giuseppe Maria, 147, 164 Bergamo, 15 Boston, Mass., 18 Berlin, 15, 242, 248, 251 Bothmer, Baron Hans Kaspar von, 143 __, Deutsche Staatsbibliothek Boutell, Mrs, 164 (formerly Konigliche Bibliothek), Boyce, William, 24 246,248 Brade, William, 44 __, Staatsbibliothek Preussischer Brahms, Johannes, 80 Kulturbesitz, 246 Brandenburg, Electorate of, 45 Berlioz, Hector, 7 Brandenburg, Electress of: see Sophie, Bertholdi [Bertolli, Francesca], 143 Electress of Brandenburg Best, Terence, 16, 54, 266, 273 Branson, John, 158 Betterton, Thomas, 121 Britain, 2, 10, 11, 17 Bibiena family: see Galli-Bibiena family British Apollo, The, 115 Bigonzi, Giuseppe, 148 British Enchanters, The (Eccles et al): Bingley, Lord, 141, 142, 145, 152, 157 see Granville, G. Birmingham, 1 Brivio, Giuseppe Ferdinanda, 176 Bitti, Alexander, 145 Broadwell, Adlestrop, Glos., 209 Bizet, Georges, 4 Brockes, Barthold Heinrich, 50 Blackley, James, 214 Brome, Richard: The Jovial Crew, 149 Blainville, Monsieur, P.
Recommended publications
  • Boston Early Music Festival Announces 2013 Festival

    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 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“

    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.
  • Senior Recital Rebecca Robles Chapman University

    Senior Recital Rebecca Robles Chapman University

    Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-22-2009 Senior Recital Rebecca Robles Chapman University Cheryl Lin Fielding Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Robles, Rebecca and Fielding, Cheryl Lin, "Senior Recital" (2009). Printed Performance Programs (PDF Format). Paper 548. http://digitalcommons.chapman.edu/music_programs/548 This Senior Recital is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Conservatory ofMusic presents a Senior Recital Rebecca Robles, soprano Dr. Cheryl Lin Fielding, pianist March 22, 2009 • 8:00 P.M. Salmon Recital Hall Program Cantata Georg Frideric Handel Aria: Crudel tiranno amor {1685-1759) Recitativo: Ma tu mandi al mio core Aria: 0 dolce mia speranza Recitativo: Senza te, dolce speme Aria: 0 cara speme Maria Myrick, Violin • Jarrett Threadgill, Viola Daphne Medina, Violin • Scott Kawai, Cello II Four Folk Songs Maurice Ravel Spanish (1875-1937) French Italian Hebrew III Steal Me Gian Carlo Menotti from The Old Maid and the Thief (1911-2007) Dan St.Marseille, Clarinet Intermission IV The Daisies Samuel Barber Nuvoletta {1910-1981) My Lizard v Standchen Richard Strauss Du meines Herzens Kronelein {1864-1949) Cacilie This recital is. in partial fulfillment of the requirement for a Bachelor of Music in Vocal Performance. Ms. Robles is a student of Dr. Peter Atherton.
  • Handel's Oratorios and the Culture of Sentiment By

    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.
  • HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009

    HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009

    CORO CORO HANDEL: Coronation Anthems Winner of the Gramophone Award for cor16066 Best Baroque Vocal Album 2009 “Overall, this disc ranks as The Sixteen’s most exciting achievement in its impressive Handel discography.” HANDEL gramophone Choruses HANDEL: Dixit Dominus cor16076 STEFFANI: Stabat Mater The Sixteen adds to its stunning Handel collection with a new recording of Dixit Dominus set alongside a little-known treasure – Agostino Steffani’s Stabat Mater. THE HANDEL COLLECTION cor16080 Eight of The Sixteen’s celebrated Handel recordings in one stylish boxed set. The Sixteen To find out more about CORO and to buy CDs visit HARRY CHRISTOPHERS www.thesixteen.com cor16180 He is quite simply the master of chorus and on this compilation there is much rejoicing. Right from the outset, a chorus of Philistines revel in Awake the trumpet’s lofty sound to celebrate Dagon’s festival in Samson; the Israelites triumph in their victory over Goliath with great pageantry in How excellent Thy name from Saul and we can all feel the exuberance of I will sing unto the Lord from Israel in Egypt. There are, of course, two Handel oratorios where the choruses dominate – Messiah and Israel in Egypt – and we have given you a taster of pure majesty in the Amen chorus from Messiah as well as the Photograph: Marco Borggreve Marco Photograph: dramatic ferocity of He smote all the first-born of Egypt from Israel in Egypt. Handel is all about drama; even though he forsook opera for oratorio, his innate sense of the theatrical did not leave him. Just listen to the poignancy of the opening of Act 2 from Acis and Galatea where the chorus pronounce the gloomy prospect of the lovers and the impending appearance of the monster Polyphemus; and the torment which the Israelites create in O God, behold our sore distress when Jephtha commands them to “invoke the holy name of Israel’s God”– it’s surely one of his greatest fugal choruses.
  • George Frideric Handel Cc 9127 George Frideric Handel

    George Frideric Handel Cc 9127 George Frideric Handel

    GEORGE FRIDERIC HANDEL CC 9127 GEORGE FRIDERIC HANDEL male lead in The Bear for Hemsley, who played it under the composer on BBC Television in George Frideric Handel (1685-1759) 1970. His book Singing and Imagination is a lucid guide to his finely-honed art. = `çåÅÉêíç=áå=_JÑä~í=ets=OVQ=léK=Q=kçK=S=ENTPSF= NNKNN Geraint Jones (1917-98). The son of a Glamorgan minister, Jones studied at the Royal 1-3 I Andante allegro 3.53 2 II Larghetto 4.31 3 III Allegro moderato 2.53 Academy of Music before being rejected for World War II service on grounds of poor health. Osian Ellis, harp. The Boyd Neel Orchestra directed by Thurston Dart Determined to ‘do his bit’, he made his debut as a harpsichordist in 1940 at one of Myra Hess’s A BBC studio broadcast, 26 February 1957 National Gallery concerts, later touring widely with his wife, the violinist Winifred Roberts. After the war he became highly influential in the ‘authentic’ baroque movement, forming his own = ^éçääç=É=a~ÑåÉ=ets=NOO=ENTNMF= QPKMR orchestra for the acclaimed performances at London’s Mermaid Theatre in 1951 of Dido and Aeneas, with Kirsten Flagstad and Thomas Hemsley. Jones’s many recordings included Dido 4 Recitative and Aria Apollo ‘La terra è liberata … Pende il ben dell’universo’ 5.18 (The earth is set free … The good of the universe) with those singers (plus Elisabeth Schwarzkopf as Belinda and Arda Mandikian as the 5 Recitative and Aria Apollo 3.54 Sorceress) as well as music by Bach, Handel and Mozart.
  • Female Soprano Roles in Handel's Operas Simple

    Female Soprano Roles in Handel's Operas Simple

    Female Soprano Roles in Handel's 39 Operas compiled by Jennifer Peterson, operamission a recommended online source for plot synopses Key Character Singer who originated role # of Arias/Ariosos/Duets/Accompagnati Opera, HWV (Händel-Werke-Verzeichnis) Almira, HWV 1 (1705) Almira unknown 8/1/1/2 Edilia unknown 4/1/1/0 Bellante unknown 2/2/1/1 NOTE: libretto in both German and Italian Rodrigo, HWV 5 (1707) Esilena Anna Maria Cecchi Torri, "La Beccarina" 7/1/1/1 Florinda Aurelia Marcello 5/1/0/0 Agrippina, HWV 6 (1709) Agrippina Margherita Durastanti 8/0/0 (short quartet)/0 Poppea Diamante Maria Scarabelli 9/0/0 (short trio)/0 Rinaldo, HWV 7 (1711) Armida Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/1/2/1 Almirena Isabella Girardeau 3/1/1/0 Il Pastor Fido, HWV 8 (1712) Amarilli Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/0/1/1 Eurilla Francesca Margherita de l'Épine, "La Margherita" 4/1/0/0 Page 1 of 5 Teseo, HWV 9 (1712) Agilea Francesca Margherita de l'Épine, "La Margherita" 7/0/1/0 Medea – Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/2 Clizia – Maria Gallia 2/0/2/0 Silla, HWV 10 (?1713) Metella unknown 4/0/0/0 Flavia unknown 3/0/2/0 Celia unknown 2/0/0/0 Amadigi di Gaula, HWV 11 (1715) Oriana Anastasia Robinson 6/0/1/0 Melissa Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/0 Radamisto, HWV 12 (1720) Polissena Ann Turner Robinson 4/1/0/0 Muzio Scevola, HWV 13 (1721) Clelia Margherita Durastanti 2/0/1/1 Fidalma Maddalena Salvai 1/0/0/0 Floridante, HWV 14 (1721) Rossane Maddalena Salvai 5/1/1/0 Ottone, HWV 15 (1722) Teofane Francesca
  • The Return of Handel's Giove in Argo

    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

    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.
  • Christopher Ainslie Selected Reviews

    Christopher Ainslie Selected Reviews

    Christopher Ainslie Selected Reviews Ligeti Le Grand Macabre (Prince Go-Go), Semperoper Dresden (November 2019) Counter Christopher Ainslie [w]as a wonderfully infantile Prince Go-Go ... [The soloists] master their games as effortlessly as if they were singing Schubertlieder. - Christian Schmidt, Freiepresse A multitude of excellent voices [including] countertenor Christopher Ainslie as Prince with pure, blossoming top notes and exaggerated drama they are all brilliant performances. - Michael Ernst, neue musikzeitung Christopher Ainslie gave a honeyed Prince Go-Go. - Xavier Cester, Ópera Actual Ainslie with his wonderfully extravagant voice. - Thomas Thielemann, IOCO Prince Go-Go, is agile and vocally impressive, performed by Christopher Ainslie. - Björn Kühnicke, Musik in Dresden Christopher Ainslie lends the ruler his extraordinary countertenor voice. - Jens Daniel Schubert, Sächsische Zeitung Christopher Ainslie[ s] rounded countertenor, which carried well into that glorious acoustic. - operatraveller.com Handel Rodelinda (Unulfo), Teatro Municipal, Santiago, Chile (August 2019) Christopher Ainslie was a measured Unulfo. Claudia Ramirez, Culto Latercera Handel Belshazzar (Cyrus), The Grange Festival (June 2019) Christopher Ainslie makes something effective out of the Persian conqueror Cyrus. George Hall, The Stage Counter-tenors James Laing and Christopher Ainslie make their mark as Daniel and Cyrus. Rupert Christiansen, The Telegraph Ch enor is beautiful he presented the conflicted hero with style. Melanie Eskenazi, MusicOMH Christopher Ainslie was impressive as the Persian leader Cyrus this was a subtle exploration of heroism, plumbing the ars as well as expounding his triumphs. Ashutosh Khandekar, Opera Now Christopher Ainslie as a benevolent Cyrus dazzles more for his bravura clinging onto the side of the ziggurat. David Truslove, OperaToday Among the puritanical Persians outside (then inside) the c ot a straightforwardly heroic countertenor but a more subdued, lighter and more anguished reading of the part.
  • Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall

    Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall

    Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.