Franco Fagioli sings Vivaldi and Handel Monday 4 June 2018 7.30pm, Hall
Vivaldi Sinfonia in G major, RV146 Cessate, omai cessate, RV684 Sinfonia in G minor, RV156 L’Olimpiade – ‘Mentre dormi’ Orlando furioso – ‘Nel profondo, cieco mondo’ interval 20 minutes Handel Imeneo – ‘Se potessero i sospir miei’ Igor Studio/DG Handel Il pastor fido – ‘Sento brillar nel sen’ Vivaldi Giustino, RV717 – Sinfonia in C major Handel Ariodante – ‘Scherza infida’ Geminiani Concerto grosso in D minor ‘La folia’ (after A Corelli Op 5, No 12) Handel Ariodante – ‘Dopo notte’
Franco Fagioli countertenor Venice Baroque Orchestra Gianpiero Zanocco leader
Part of Barbican Presents 2017–18
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. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. 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. The City of London If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers. 2 have written 94,thoughonlyaround half Similarly, Vivaldi’s operas (heclaimedto with acompellingdirectness of utterance. combining momentsof melting beauty omai cessate they deserve. Hiscantata recently begunto receive thelimelight but hisvocal works have onlyrelatively heady virtuosityandplangentmelodies, introduction, withitswinningblendof Vivaldi’s instrumental music needslittle musical thrills. that promises heightened emotions and Orchestra for anevening of Baroque music Franco Fagioli andtheVenice Baroque We welcome Argentine countertenor Welcome
Evgeny Kissin,Maxim Vengerov andNicoMuhly. Iestyn Davies, Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Barbican Classical MusicPodcasts is a good case in point, is agoodcaseinpoint, Cessate,
Huw Humphreys, Head of Music,Barbican I hopeyou enjoy it. It promises to beawonderful evening. wowing audienceswhetherhewent. rapidly proceeding to make hisname, arriving inLondonasayoung manand Geminiani was another Italian import, The composerandviolinistFrancesco have beensentover from Italy’. the opera promised ‘celebrated Voices who without Italian singers,andthepublicityfor audience, buthewould have beennowhere Handel composed imaginative word-painting. that numberare known to us)are fullof
Ariodante for aLondon
often resembled gentlemen’sclubs:convivial The societieswhere Corelli’s works were played harmonic pace, texture andfiguration. work already vividly structured by shifts intempo, solo withgrouped strings,Geminianienricheda parts to Corelli’s original,andby contrasting popularity. Byadding asecondviolinandviola final pieceof theset(No 12), ensured itslasting known ‘Lafolia’ asthebasisfor variations inthe of airs’.Nonetheless,Corelli’s useof thewell- of ‘having nofuguesbutconsistingaltogether 1729, proved lesspopular, apparently onaccount enjoyed awidecirculation. Thesecond,issued in Op 5 ViolinSonatas as commissioned to arrange thefirst six of Corelli’s at theQueen’sHead Tavern, Temple Bar, hewas Philo-musicae et-architecturae societas Apollini, Perpetual Dictator’ to thenewly founded Masonic his appointmentin1725 as‘soleDirector and studied inRome withCorelli. Moreover, with capital’s musicallife. Itseemslikely thathehad (1687–1762) rapidly secured aplace inthe violinist andcomposerFrancesco Geminiani Arriving inLondon1714, theyoung Italian will relish butCorelli’. scratching of Corelli there iseverywhere –nothing wrote that‘It[is]wonderfull to observe whata by professional performers. In1710 Roger North their amateur capabilities,enhanced,ifnecessary, subscribed to Corelli’s works, whichaptlysuited Italian editions.Musicalsocietiesacross Britain Estienne Roger, known for hisadroit ‘pirating’ of closely by athird from Amsterdam publisher, August two versions were available, followed followed suitwithhisown imprint–sothatby printed inRome. LondonpublisherJohnWalsh subscription to theOp 5ViolinSonatas, newly Banister II andRobert King,advertised a musical public.InJune,Corelli’s agents, John Corelli-fever thatwould soongripBritain’s By mid-1700 there were already signsof the For texts, pleaseseepage6 world’s the All astage concerti grossi . This first set . Thisfirst set were castin asinglekey, withabriefslow central Georg Pisendel.Characteristically thesesinfonias G majorSinfonia, RV146 to theviolinistJohann posted from Venice amanuscriptcopy of the 18th century:in1726 theflautist Joachim Quantz such works, datingfrom thefirst decades of the by GiuseppeTorelli. Vivaldi composednearly60 of thegenre, asshapedinthelate 17th century simply concertos, belongedto thefluid, earlyyears quattro Vivaldi’s sinfonias, alsoknown as Ospedale’s chapel. be played inconcertsfollowing servicesinthe the institution’sskilled,all-female ensemble,to have composedhisorchestral sinfonias for as ateacher from around 1704, islikely to were often reluctant to leave. Vivaldi, engaged less advanced, andthosewithparticularskill Those whogainedproficiency would teach those girls whohad beenabandonedororphaned. Giorgio Maggiore, provided musicaltraining for Ospedale dellaPietà,facing theislandof San different performance context. Thecharitable instrumental works were designedfor anentirely members. InVenice, however, Vivaldi’s women admitted occasionallyasaudience haunts for smoking,eatinganddrinking,with such thatJosephBaretti, describingRome’s Arcadia provided both amodelandsubject, drama andmusic were debated andperformed. gatherings atwhichpoetry, philosophy, aesthetics, within Italy’s academies: intimate, arcane Meanwhile, thesecularcantata was flourishing in Rome in1724. Giustino example here heard tonight istaken from Vivaldi’s opening sinfonia (oroverture) of anopera. The declined, often to bereplaced inconcertsby the increased inpopularity, thesinfonia-concerto of tempestuous virtuosity. Asthesoloconcerto rhythmic Allegro and succeededby amovement central interlude isprefaced by an infectiously movement. Inthecaseof RV156, inGminor, this (that is, concertos without soloists) or (thatis,concertos withoutsoloists)or , anopera first performed atthecarnival concerti a concerti a
3 Programme note 4 worked insuchamulti-faceted way –take, for other musicianinItaly atthetimeappearsto have more asdirector, arranger or impresario. No there are records of hisinvolvement withmany attributed to him(heclaimedto have written 94), energy. Althoughonlysome50works are Opera occupiedmuchof Vivaldi’s time and leading roles. teens, progressing from minortravesty partsto was written, shehad sungonstage sinceherearly Seventeen oreighteen years oldwhen thiscantata extraordinary stage presence anddramatic ability. ‘weakness’) of Girò’svoice was offset by her until hisdeath.Thelightness(insomeaccounts, whom Vivaldi worked closelyfrom themid-1720s Anna Girò,originallyapupilatthePietà,with that thiscantata was sungby themezzo-soprano While thetext’s authorisunknown, itseemslikely bristling cushionof pizzicato andstaccato strings. ‘Ah, ch’infelice’, whosemelodythrobs above a is undoubtedly thejewel of thesetting:aria, One consequencewas to throw into relief what but subtlytwisted theimportof itsnarrative. recitative not onlyaltered thecantata’s structure showing how theaddition of anintroductory to Vivaldi’s thoughtsasthework developed, his innocentblood.Manuscriptstudiesattest the Acheron, whosewaters willbetingedwith the sanctuaryof darkcaves to thebanks of resolving to die,andinsodoingto travel from a scornedlover asinconsolable,thenvengeful, a psychological drama inminiature andcasts represents arather more nuancedapproach: it’s Vivaldi’s sonnets, eclogues,ydylliums,andbucolics’. shepherd, andfell directly uponcomposingrustic knack for poetry, was metamorphosed into a 1769, wrote that‘every bodywhohad theleast Arcadian Academy for anEnglishaudiencein Cessate, omaicessate (1727–8) Vivaldi’s useof asustained hornpedal).Therole river’s courseandbidsthebreezes holdstill(note noble desire for Aristea: arapture whichslows the dormi’, to Megacle, thelistener alsointuitshisless Thus, asLicidasingsthetender lullaby, ‘Mentre it transpires, heisalready inlove withAristea. unaware of thecontest’s prize;furthermore, as of Aristea, theking’sdaughter. Megacle isinitially Megacle to compete (onhisbehalf)for thehand Licida, hehaspersuaded hismore athleticfriend to summarisesuccinctly. Whenwe encounter Historiae drew from the‘Trial of theSuitors’ (Herodotus: previous season.Pietro Metastasio’s drama Antonio Caldara andperformed inViennathe purloined alibretto whichhad beensetby In thecaseof ‘insanity’ of unrequited passion. and instability of hischaracter thatwilllead to the Orlando’s acrobatic vocal linehintsattheexcess its feet. Intheversion sungtonight, from 1727, settings guaranteed to bringtheaudienceto treatments; both, however, were fiendishly difficult by Orlando,thusreceived two quite different ‘Nel profondo, ciecomondo’,thefirst ariasung score, butwiththemajoritycomposedanew. the SanAngelo,retaining someof hisearlier 13 years later, heproduced afurtherversion at season, Vivaldi substituted musicof hisown. Then, San Angeloinautumn1713. For thefollowing under Vivaldi’s directorship atVenice’s Teatro music by Giovanni Alberto Ristori, was first sung furioso example, theperformance history of increasingly onthecelebrityof particularsingers, In theBaroque era, aspublic attention focused from Brescia who specialisedinmaleroles. (Angela Zanucchi),acontralto/mezzo-soprano of Licidawas originallysungby AngiolaZanuchi . Anopera by thisname,ostensibly with , Book VI), in a plot nigh-impossible , BookVI),inaplot nigh-impossible L’Olimpiade (1734), Vivaldi Orlando Orlando with alively andinventive imagination …rendered … avery animated andintelligent actor …[who] Charles Burney as‘tall, beautifulandmajestic cast intheopera’s title-role, was describedby knowledge of how to delightaudiences.Carestini, in January1735, stilldisplayed Handel’ssure Ariodante Garden from those attherival Haymarket. Yet this way, hedifferentiated productions atCovent (rather thanothers’ operas), includingoratorios. In act; healsofocused onpresenting hisown work and usingchoruseseven dancingto endeach Italian singers,employing instead Englishsingers, approach to thestage. Heengaged fewer new scrutiny thanever, Handelvisiblymodified his At thiscriticaljuncture, andanticipatinggreater new opera would be Voices whohave beensentover from Italy’. The Strada, theSignore Negri,andsomecelebrated ‘compos’d of SignorCarestini [castratro], Signora at Covent Garden, announcingacompany Handel arranged to useJohnRich’snew theatre the castrato Senesino.Fightingfire withfire, Theatre, buttaken many of hissingers,including only usurpedhispositionattheHaymarket King’s director of therival Opera of theNobility, had not 1734–5 Londonopera season.NicolaPorpora, Handel was facing acrisisattheopeningof the Just asVivaldi was staging Farnace. castrato by singingthetitle-roles of Orlandoand to have saved Vivaldi theexpense of atop-rate Lancetti, whoexcelled atsuchparts,isknown place, introuser roles, were alsovalued. Lucia fees, andwomen whowere ableto take their castrato. Yet suchcelebritiescouldcommandhigh arias for opera’s mostprizedphenomenon–the favourites, andwrote ever more spectacular composers soughtnew voices, retained old , heldback to opentheNew Year Ariodante L’Olimpiade . inVenice, abduction by pirates of hisbeloved Rosmene. By the openingof theopera, ashereflects onthe ‘Se potessero isospirmiei’issungby Tirinto at high quality, itscharacters deftlydelineated. who would star in different castrato, Giovanni Battista Andreoni, that love’s coursewillrunsmoothly. Yet itwas a a breathlessly virtuosicariaproclaiming hope of Mirtillo,Handeladded ‘Sento brillarnelsen’: – theOpera short’).CastingCarestini intherole only theCountryof Arcadia; theHabitswere old diarist observed acidly, ‘thescenerepresented first, unsuccessfulperformances (acontemporary Handel’s Carestini had already influenced therevival of octave range of Carestini’s voice. and glittering melismas,exploiting thefull,two- Handel’s score scintillates withsyncopated strings a safe harbourfollowing night’sraging tempest. notte’, incontrast, jubilantlyconjures dawn, and timbre of bassoons.Ariodante’s Act 3aria,‘Dopo text-setting, counterpointed desolately by the intense interiority isinvoked by sublimelylyrical of hisbeloved’s (apparent) infidelity, amoodof drama. InAct 2’s‘Scherzainfida’, asthehero tells at strategically important momentsintheopera’s these strengths, Handelplaced Ariodante’s arias energy, andjudiciousembellishments.’Playing to everything hesanginteresting by goodtaste, Programme note ©JudithLeGrove consummate composerfor thestage. of thehumanconditionconfirms Handelasa turns pensive andbitter, itsprofound depiction Nevertheless, of composerssuchasGaluppiandHasse. of Handel,favouring instead the 1740. Bynow, audienceshad seeminglytired opera, atLincoln’sInnFieldstheatre inNovember Il pastor fido Imeneo Imeneo ’s musicisof consistently in1734, 22years after its , Handel’s penultimate , Handel’spenultimate galant style style
5 Programme note 6 Dorilla l’ingrata, morire potrò. Potrò ad alta voce chiamare spietata Potrò ilmiotormento sfogare contento, Nell’orrido albergo, ricetto dipene, Il miotormento invoi resti sepolto. Alfine mecoinvolto Vengo specchigraditi, Vengo, speloncheamate, Che Dorillainhumananonannida. Perché spero davoi quellapietade, Tra voi porto ilmioduolo, Solitari ritiri,edombre amiche, Orridi specchi,taciturni orrori, À voi dunquericorro, Solo lamorte puòconsolar. E ilfier martoro elemiepene Per menonv’èpiùspeme. Per menonv’èristoro, Mi stringealagrimar. Ah sempre piùspietata, Me vuolDorillaingrata, Ah ch’infelice sempre La solacrudeltàpasceedannida. Perché unvolto spietato, unalmainfida, Se titoglie lapace unaffetto tiranno, Povero core afflitto eabbandonato, Di toglier almiocorriposoecalma. Di traffiggermi l’alma, Di lacerarmi ilpetto, Cessate, omaicessate In unimmensoaffanno. Mi cangiaste icontenti Già barbare espietate D’un affetto tiranno! Rimembranze crudeli Cessate, omaicessate, Cessate, omaicessate Antonio Vivaldi Texts death alonecanconsole. and my fierce torment andpain for methere isnohope, For methere isnocure, she compelsmeto tears. ah, ever more mercilessly always wishesmewoe, Ah, how theingrate Dorilla nourish andcherishnothing butcruelty. since apitilessface andafaithless soul robbed of peace by atyrannical love, My poorheart,afflicted andforsaken, robbing my heartof rest andpeace! rending my soul, lacerating my breast, Leave off, now leave off into boundlessanguish. you have changedmy happiness Since, barbarously andmercilessly of atyrannical love! you cruelmemories Leave off, leave off merciless, and Imay die. I may loudlycalltheungrateful Dorilla I may give free vent to my torment, In thisgrimrefuge, abodeof pain, my torments may lieburiedinyou. that withmy earthlyburden I come,welcoming dens, I come,beloved caverns, that inhumanDorilladoesnot cherish. for from you Ihopefor thepity to you Ibearmy sorrow, solitary retreats andwelcoming shades, grim caves, silentdarkness, In you thenItake refuge, Silvio Stampiglia (1664–1725) La conducaildiod’amor! Deh! Sull’aleaqueste arene Ritornare ameRosmene. Ma nonpossonofar dalmare I sospiridelmiocor. Tutti sciogliere làsullido Riportassero illegnoinfido, iovorrei Far chel’ondeaqueste sponde Se potessero isospir miei Tirinto Imeneo –‘Sepotessero isospirmiei’ George Frideric Handel interval after Ludovico Ariosto (1474–1533) Grazio Braccioli (1682–1752), Con l’aita delvalor. Vincerà l’amorpiùforte Già spietata aquesto cor. Si precipiti lasorte Nel profondo, ciecomondo Orlando mondo’ Orlando furioso–‘Nelprofondo, cieco Pietro Metastasio (1698–1782) Ogni zeffiro leggier. E sospendaimoti suoi Abbia ilriopassipiùlenti, Con l’ideadelmiopiacer. Il piacer de’sonnituoi Mentre dormi,Amorfomenti Licida L’Olimpiade –‘Mentre dormi’ Anonymous Ed ombra baccante vendetta farò. Gridando vendetta, Tingendo quest’ondadisangueinnocente Andrò d’Acheronte sulanera sponda, 20 minutes
Translations by Kenneth Chalmers©DG the stronger love willprevail. Aided by valour, into thedeep,sightlessworld. be castdown Let fate, thathastreated my heart so cruelly, cease moving. and every breeze Let thestream runmore slowly, with thethoughtof my joy. pleasure inyour slumber While you sleep,letCupidnurture Translation by Derek Yeld ©HarmoniaMundi as araging shade, take revenge onher. crying for vengeance, andshallthen, dyeing itsfloods withinnocentblood, I shallgoto theblack shores of Acheron, fly her hometo thisshore! Alas! May thegodof love back to mefrom thesea. But my sighscannot bring Rosmene in my heartissueforth. stand onitsshore andletevery sigh back to thiscoast,Iwould the waves to drive thetreacherous ship If my sighscouldonlycompel
7 Texts 8 (1664–1724) Anonymous libretto after awork by Antonio Salvi Giunge inporto, e’llidoafferra. Il miolegnoèquasiassorto, Mentre inorridatempesta E digioiaempielaterra. Splende inCielpiùvago ilsole, Dopo notte, atra efunesta, Ariodante Ariodante –‘Doponotte’ Per tuapenaiotornerò. Ombra mesta espirto ignudo, Ma aspezzarl’indegnolaccio, Per tuacolpaora menvò. Io tradito amorte inbraccio in grembo aldrudo, Scherza infida Che midite, oaffanni miei? E senzailferro, ohDei!chefarò? E vivo ancora? Ariodante Ariodante –‘Scherza infida’ Giovanni Battista Guarini(1538–1612) Giacomo Rossi (fl 1710–31) Al duoim’invola! Del caro amato bene Ah, chelasolaspene Che miconsola. Un novo, lieto ardor Sento brillarnelsen Mirtillo Il pastor fido–‘Sento brillarnelsen’ after awork by and fills theearthwithjoy. the sunshinesbrighter intheheavens, After thenight,darkandfunereal, to break theunworthy bond. I shallreturn for your pain But, asad shade andanaked spirit, Through your fault. Betrayed, Igooff into thearmsof death Frolics onthebosomof herparamour. The unfaithful woman What doyou tell me,my grief? And withoutmy sword, ye Gods,whatshallIdo? And amIstillalive? Translations by SusannahHowe ©DG rescues mefrom sorrow! by my sweet beloved Ah, onlythehopeinspired that comforts me. of anew andhappy flame In my breast Ifeel theblaze Harmonia Mundi Translations by Frederick Hammond© it reaches port,andgrasps theshore. in aterrible storm, Although my littleboatwas almostswamped
Igor Studio/DG solo albumsfor thelabel: bel canto brightest stars of Baroque andearly19th-century with thelabelreflects hisstatus asoneof the contract withDG.Thesinger’snew relationship he isthefirst countertenor to signanexclusive spans three octaves) andhismasterful technique, his artistryasfor thebeautyof hisvoice (which countertenors of ourtime.Renowned asmuchfor Franco Fagioli isoneof theleading virtuoso Franco Fagioli About the performers La concordia de’pianeti Vinci’s Adriano inSiria Gluck’s For other labelshehasrecorded thetitle-roles in arias withIlPomo d’Oro. Atenea andGeorge Petrou and adiscof Handel Franco Fagioli Artaserse Orfeo edEuridice opera. To date hehasreleased two , Handel’s countertenor and Catone inUtica , Hasse’s and Rossini Berenice Ezio with Armonia withArmonia Siroe, re di and , Pergolesi’s
, Caldara’s Teseo , as a concert artist, appearing at the Halle, as aconcertartist,appearingattheHalle, Franco Fagioli hasalsoachieved distinction and Madrid’s Teatro Real. State Opera inMunich,Hamburg State Opera Karlsruhe, andmake debutswiththeBavarian House, Covent Garden andtheStaatstheater Future seasonsseehimreturn to theRoyal Opera Buenos Aires andZurichOpera House. title-role in Opéra deLilleandtheThéâtre deCaen; andthe Disinganno Garden; Piacere ( ( for Opéra nationaldeLorraine; Idamante for Opéra nationaldeParis; Arsace ( His stage roles includethetitle-role in Orchestra. Basel, Il Pomo d’Oro andtheVenice Baroque as concerttours withtheKammerorchester Riccardo MutiandChristophe Rousset. José ManuelQuintana, Marc Minkowski, Garrido, Nikolaus Harnoncourt,René Jacobs, as RinaldoAlessandrini,AlanCurtis,Gabriel collaborating regularly with suchconductors Ludwigsburg, InnsbruckandSalzburg festivals, in thetitle-role of Cavalli’s and hisdebutfor theDutch NationalOpera La Scala,Milan,asAndronico ( This season’shighlightsincludehisdebutat and Persia Idomeneo Il maestro Porpora andthesoloalbums ) for theRoyal Opera House,Covent Giulio Cesare ) for theAix-en-Provence Festival, Il Trionfo delTempo edel . for theTeatro Colónin Eliogabalo Arias for Caffarelli Tamerlano Semiramide , aswell Eliogabalo )
) 9 About the performers 10 Brussels; gave concertswithviolinistViktoria Centre, andatthePalais desBeaux-Arts in of theUniversity of Illinois,here attheBarbican triumphans Last seasonitperformed Vivaldi’s Schleswig-Holstein withmandolinistAvi Avital. Grafenegg withharpist Xavier deMaistre, and Festival withmezzo-soprano Magdalena Kožená, Recent festival appearances includetheEnescu of theUSA featured AnnaFusekonrecorders. Japan andChina.Theorchestra’s annualtour with Franco Fagioli, withconcertsinEurope, Highlights of the2018 seasonincludetwo tours in Venice on anumberof DVDs andfeaturing in (Netherlands) andNHK,aswell asappearing of television features ontheBBC, ARTE, NTR in theUSA. Theorchestra hasbeenthesubject Music inNew York, thework’s first fullstaging reprising Handel’s orchestra hasstaged Cimarosa’s La Clementina della poesiaemusica Marcello’s Vivaldi’s modern-day premieres of Cavalli’s under Marcon’s leadership hasgiven the 17th- and18th-century masterpieces and The VBO iscommitted to therediscovery of States thanany other Baroque orchestra. has appeared inmore citiesacross theUnited America, Japan,Korea, Taiwan andChina, throughout Europe, NorthAmerica,South acclaim for itsconcertandopera performances The orchestra hasreceived widespread critical today’s leading period-instrumentensembles. Andrea Marcon andisrecognised asoneof in 1997 by Baroque scholarandharpsichordist The Venice Baroque Orchestra was founded Venice Baroque Orchestra , adocumentary by Richard Dindo. Atenaide Siroe Siroe La morte d’Adone atCarnegieHall,theKrannert Center attheBrooklyn Academy of . AtLaFenice inVenice, the andGaluppi’s and Andromeda liberata , and Boccherini’s , andBoccherini’s and L’Olimpiade L’Olimpiade Juditha Juditha Il trionfo Il trionfo L’Orione Vivaldi , , , , arias. Theorchestra’s earlierdiscography on with Patricia Petibon, adiscof Italian Baroque orchestra hasalsorecorded Handel arias;and, of ariaswithMagdalena Kožená, withwhomthe arias withsoprano SimoneKermes; andadisc sinfonias andconcertos for strings;motets and Giuliano CarmignolaandViktoria Mullova; followed by more Vivaldi: violinconcertos with recording of du MondedelaMusique.Itsworld-premiere century opera arias,whichwas awarded aChoc featuring therecording premieres of many 18th- Metastasio’s Grammy nomination(Erato); andapasticcioof arias withPhilippeJaroussky, whichreceived a Vivaldi concertos withAvi Avital (DG);Porpora The orchestra’s numerous recordings include McDuffie ina28-citytour of theUSA. American FourSeasons premiered PhilipGlass’sviolinconcerto, Theatre inSt Petersburg. In2010, theVBO including theIstanbul Festival andtheMariinsky Gauvin; andatour withMagdalena Kožená Dresden’s Frauenkirche withsoprano Karina United States andCanada; performances in Croatia, Germany, Spain,France, Mexico, the and Belgium;concertswithAvi Avital inItaly, with contralto Marie-NicoleLemieuxinFrance with countertenor PhilippeJaroussky; concerts tours of Europe, theUnited States andAsia Earlier performance highlightshave included Benedetti, andatour of JapanwithAvi Avital. an 18-city tour of theUSA withviolinistNicola Mullova inViennaandBudapest;undertook Four Seasons Sony withGiulianoCarmignolaincludes by FondazioneCassamarca inTreviso. The Venice Baroque Orchestra issupported an ECHOAward andanEdisonAward. has alsobeenhonoured withaDiapasond’Or, featuring Angelika Kirchschlager. Theorchestra concertos, andacollectionof Bach arias L’Olimpiade Andromeda liberata , previously unrecorded Vivaldi , with violinist Robert , withviolinistRobert for theNaïve label for DGwas The The The The Lorenzo Feder Harpsichord Stefano Meloni Bassoon Alessandro Pivelli Double Bass Massimo Raccanelli Cello Meri Skejic Alessandra DiVincenzo Viola Giuseppe Cabrio Matteo Marzaro Giorgio Baldan Violin 2 Francesco Lovato Mauro Spinazzè Giacomo Catana Gianpiero Zanocco Violin 1 Orchestra Venice Baroque leader advertising by Cabbell(tel 02036037930) printed by Trade Winds ColourPrinters Ltd; Programme produced by Harriet Smith;
11 About the performers Fri 26 Oct Handel’s Serse Il Pomo d’Oro Franco Fagioli stars as the hot-blooded Persian tyrant Xerxes
Franco Fagioli A5 mono ad.indd 1 29/05/2018 16:43