DOCSLIB.ORG

Lower Male Roles in Handel's Operas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lower Male Roles in Handel's Operas Lower Male Roles in G.F. Handel's 39 Operas compiled by Jennifer Peterson, operamission Key Character/voice type Range Tessitura Singer who originated role, if known Name of each da capo aria, arioso, duet, or accompagnato are indicated NOTE: Current historical pitch standard for Handel is A=415, which is a half-tone lower than the pitch in common use by modern orchestras. Period instrument orchestras generally tune to this lower pitch. Opera, HWV (Händel-Werke-Verzeichnis) a recommended online source for plot synopses Almira, HWV 1 Fernando/tenor Osman/tenor Tabarco/tenor range: Bb2–A4 range: D3–B4 range: C3–G4 tessitura: D3–E4 tessitura: G3–G4 tessitura: F3–F4 "So ben che regnante" "Du irrst dich, mein Licht" Arioso: "Am Hofe zu heißen" "Liebliche Wälder" Arioso: "Zürne was hin" Arioso: "Alter schadt der Thorheit" "Laß das Schicksal blitzen" "Ich will euch verdammen" "Habbiate pazienza" Arioso: "Schöne Flammen" Duet: "Ich will gar von nichtes" Solo recit scene: "Wie muß..." "Ob dein Mund" Arioso: "Sprich vor mir" "Schürzchen mit dem Falbala" "Bücke dich, du Kreis der Welt" Arioso: "Scepter und Kron'" "Kommt, vermehrt der Thorheit" "Edele Sinnen" Arioso: "Svenerò chi fa guerra" "Was ist des Hofes Gunst?" "Meiner Pracht muß alles weichen" Arioso: "Der kann im Blitz" Duet: "Mein Betrüben" Recit: "Verhängniß..." Arioso: "Fernando stirbet dein" Duet: "Spielet, ihr blitzenden Augen" Consalvo/bass Raymondo/bass range: G2–F4 range: G2–Eb4 tessitura: C3–D4 tessitura: C3–D4 Arioso: "Almire regiere" "Mi dà speranza al core" "Leset, ihr funkelnden Augen" "Zweier Augen Majestät" Arioso: "Wer umb Geld" "Gönne nach dem Thränengüßen" "Laß ein sanftes Händedrücken" Arioso: "Edilia, du bleibest mein" "Du stolzer Erdenkreis" "Quel labro di coral" Arioso: "Unartige Schöne" Rodrigo, HWV 5 Giuliano/tenor range: C3–A4 tessitura: F#3–F#4 Francesco Guicciardi "Dell' Iberia al soglio invitto" "Stragi, morti, sangue ed armi" "Fra le spine offre gl'allori" "Là ti sfido a fiera battaglia" "Spirti fieri dell' alme guerrieri" "Allorchè sorge astro lucente" Page 1 of 7 Agrippina, HWV 6 Claudio/bass Pallante/bass Lesbo/bass range: D2–F4 range: G2–F4 range: A2–E4 tessitura: C3–D4 tessitura: C3–D4 tessitura: D3–D4 Antonio Francesco Carli Giuseppe Maria Boschi Nicola Pasini "Pur ritorno a rimirarvi" "La mia sorte fortunata" Arietta: "Allegrezza!" Arietta: "Vieni, oh cara" Quartet: "Il tuo figlio" Trio: "È quando mai" Trio: "È quando mai" "Col raggio placido" "Cade il mondo" "Basta che sol tu chieda" "Io di Roma il Giove sono" Rinaldo, HWV 7 Argante/bass Araldo/tenor range: A2–F#4 range: A3–F#4 tessitura: D3–Eb4 tessitura: A3–E4 Giuseppe Maria Boschi Mr. Lawrence "Sibillar gli angui d'Aletto" 1 secco recitative "Vieni, oh cara" "Basta che sol tu chieda" Duet: "Al trionfo del nostro furore" Il Pastor Fido, HWV 8 Tirenio/bass range: Bb2–Eb4 tessitura: C3–C4 Richard Leveridge "Risonar mi sento al core" Teseo, HWV 9 Priest of Minerva/bass range: D3–D4 tessitura: F#3–D4 Richard Leveridge Recit: "Il ciel già si compiace..." Silla, HWV 10 Il Dio/bass range: Bb2–D4 tessitura: C3–C4 "Guerra, stragi e furor" Radamisto, HWV 12 Tiridate/tenor Farasmane/bass range: D3–A4 range: G2–F4 tessitura: G#3–A4 tessitura: D3–D4 Alexander Gordon Signor Lagarde "Stragi, morti" "Son lievi le catene" "Sì che ti renderai" "Alzo al volo" Muzio Scevola, HWV 13 Larte Porsenna/bass Lucio Tarquinio/bass range: A2–F4 range: D3–E4 tessitura: D3–E4 tessitura: F3–D4 Giuseppe Maria Boschi Caterina Galerati (soprano) "Volate più dei venti" 1 secco recitative Recit: "Sù quell'ara fumante" Page 2 of 7 Floridante, HWV 14 Oronte/bass Coralbo/bass range: A2–G4 range: Bb2–F4 tessitura: D3–E4 tessitura: D3–E4 Giuseppe Maria Boschi "Non lasciar oppressa" "Finchè lo strale non giunge" "Mà non s'aspetti, nò!" "Che veggio? che sento?" Ottone, HWV 15 Emireno/bass range: A2–F4 tessitura: D3–Eb4 Giuseppe Maria Boschi "Del minacciar del vento" "Le profonde vie dell'onde" Nò, non temere, oh bella!" Flavio, HWV 16 Lotario/bass Ugone/tenor range: A2–F4 range: E3–A4 tessitura: G3–E4 tessitura: A3–A4 Giuseppe Maria Boschi Alexander Gordon "Se a te vissi fedele" "Fato tiranno" "S'egli ti chiede affetto" Giulio Cesare, HWV 17 Achilla/bass Curio/bass range: G2–F4 range: D3–E4 tessitura: D3–D4 tessitura: E3–C#4 Giuseppe Maria Boschi Mr. Lagarde "Tu sei il cor di questo core" secco recitatives only "Se a me non sei crudele" "Dal fulgor di questa spada" Tamerlano, HWV 18 Bajazet/tenor Leone/bass range: A2–A4 range: Bb2–F4 tessitura: E3–F4 tessitura: D3–Eb4 Francesco Borosini Giuseppe Maria Boschi "Forte e lieto" "Amor dà guerra e pace" "Ciel e terra" "Se ad un costante core" "A suoi piedi padre esangue" Recit: "Asteria (che per figlia...)" Trio: "Voglio stragi" Arioso: "Nò, il tuo sdegno" Recit: "E il soffrirete..." "Empio, per farti guerra" Death Scene: Recit: "Fremi, minaccia!" Arioso: "Figlia mia" Rodelinda, HWV 19 Grimoaldo/tenor Garibaldo/bass range: C3–G#4 range: A2–F4 tessitura: E3–F4 tessitura: D3–Eb4 Francesco Borosini Giuseppe Maria Boschi "Io già t'amai" "Di Cupido impiego" "Se per te giungo a godere" "Tirannia gli diede il regno" "Prigionera hò l'alma in pena" "Tuo drudo è mio rivale" "Trà sospetti, affetti, e timori" Recit: "Fatto inferno..." "Pastorello d'un povero armento" Page 3 of 7 Scipione, HWV 20 Lelio/tenor Ernando/bass range: D3–A4 range: Bb2–G4 tessitura: F#3–G4 tessitura: C3–D4 Luigi Antinori Giuseppe Maria Boschi "Nò, non si teme" "Braccio si valoroso" "Temo che lusinghiero" "Tutta rea la vita umana" "Del debellar la gloria" Alessandro, HWV 21 Clito/bass Leonato/tenor range: Bb2–F4 range: E3–A4 tessitura: Eb3–Db4 tessitura: G3–F4 Giuseppe Maria Boschi Luigi Antinori "A sprone, a fren leggiero" "Pregi son d'un alma grande" Arioso: "Sfortunato" Admeto, HWV 22 Ercole/bass Meraspe/bass range: A2–F4 range: G2–E4 tessitura: C3–Eb4 tessitura: B2–C4 Giuseppe Maria Boschi Giovanni Battista Palmerini "La gloria sola" "Signor, lo credi a me" Recit: "In vanti scuoti..." "Amor è un tiranno" Riccardo Primo, HWV 23 Isacio/bass Berardo/bass range: G2–F4 range: A2–F4 tessitura: D3–Eb4 tessitura: D3–D4 Giuseppe Maria Boschi Giovanni Battista Palmerini "Ti vedrò regnar sul trono" "Dell'empia frode" "Nel mondo e nell'abisso" Siroe, HWV 24 Cosroe/bass Arasse/bass range: G2–F#4 range: D3–Eb4 tessitura: C3–D4 tessitura: F3–C#4 Giuseppe Maria Boschi Giovanni Battista Palmerini "Se il mio paterno umore" 5 secco recitatives "Tu di pietà mi spogli" "Gelido, in ogni vena" Tolomeo, HWV 25 Araspe/bass range: A2–F#4 tessitura: D3–D4 Giuseppe Maria Boschi "Respira almen un poco" "Piangi pur" "Sarò giusto e non tiranno" Lotario, HWV 26 Berengario/tenor Clodomiro/bass range: B2–A4 range: A2–G4 tessitura: Eb3–F#4 tessitura: D3–F4 "Balino" Johann Gottfried Riemschneider Arioso: "Grave è'l fasto di regnar" "Se il mar promette calma" "Non pensi quell'altera" "Non t'inganni la speranza" Recit: "Son vinto, o Ciel..." "Alza al Ciel pianta orgogliosa" "Regno e grandezza, vassalli e trono" "D'instabile fortuna" "Vi sento, si, vi sento" Page 4 of 7 Partenope, HWV 27 Emilio/tenor Ormonte/bass range: B2–A4 range: A2–G4 tessitura: F3–E4 tessitura: E3–E4 "Balino" Johann Gottfried Riemschneider "Anch'io pugnar saprò" "T'appresta forse amore" Recit: "Contro un pudico amor..." "Barbaro fato, sì" Quartet: "Non è incauto il mio consiglio" "La speme ti consoli" "La gloria in nobil alma" Poro, HWV 28 Alessandro/tenor Timagene/bass range: B2–G4 range: E3–E4 tessitura: E3–E4 tessitura: F#3–D4 "Balino" Antonio Montagnana "Vil trofeo" secco recitatives only "Se amor a questo petto" "D'un barbaro scortese" "Serbati a grandi imprese" Ezio, HWV 29 Massimo/tenor Varo/bass range: C3–A4 range: G2–F4 tessitura: E3–E4 tessitura: A2–D4 Giovanni Battista Pinacci Antonio Montagnana "Il nocchier, che si figura" "Se un bell'ardire" "Se povero il ruscello" Recit: "Folle è colui..." Recit: "Qual silenzio..." "Nasce al bosco" "Và, dal furor portato" "Già risonar d'intorno" "Tergi l'ingiuste lagrime" "Un gran cor non dà ricetto" Sosarme, HWV 30 Haliate/tenor Altomaro/bass range: C3–A4 range: F2–F4 tessitura: F3–F4 tessitura: G2–D4 Giovanni Battista Pinacci Antonio Montagnana "La turba adulatrice" "Fra l'ombre e gl'orrori" "Se discordia ci disciolse" "Sento il cor che lieto gode" "S'io cadrò per tuo consiglio" "Tiene Giove in mano il folgore" Orlando, HWV 31 Zoroastro/bass range: F#2–F4 tessitura: Bb2–D4 Antonio Montagnana Recit: "Gieroglifici eterni!" "Lascia Amor" "Tra caligini profonde" Recit: "O voi, del mio poter" "Sorge infausta" Recit: "Tu, che del gran Tonante" Arianna in Creta, HWV 32 Minos/bass Il Sonno/bass range: A2–F#4 range: D3–D4 tessitura: B2–D4 tessitura: D3–D4 Gustavus Waltz Recit: "Disseratevi, o porte" "Se ti condanno" Page 5 of 7 Ariodante, HWV 33 Lurcanio/tenor Il Re di Scozia/bass Odoardo/tenor range: D3–A4 range: F2–F4 range: F#3–G4 tessitura: E3–F#4 tessitura: Ab2–C4 tessitura: G3–E4 John Beard Gustavus Waltz Michael Stoppelaer "Del mio sol vezzosi rai" "Voli colla sua tromba" 5 secco recitatives "Tu vivi, e punito" "Invida sorte avara" "Il tuo sangue, ed il tuo zelo" "Al sen ti stringo e parto" Duet: "Dite spera" Alcina, HWV 34 Oronte/tenor Melisso/bass range: Eb3–A4 range: B2–E4 tessitura: G3–F4 tessitura: B2–E4 John Beard Gustavus Waltz "Semplicetto! a donna credi?" "Pensa a chi geme" "È un folle, è un vile affetto" "Un momento di contento" Atalanta, HWV 35 Aminta/tenor Nicandro/bass Mercurio/bass range: D3–A4 range: Bb2–Eb4 range: A2–E4 tessitura: F3–F#4 tessitura: C3–Eb4 tessitura: E3–C#4 John Beard Gustavus Waltz Henry Theodore Reinhold
Load more

Recommended publications
  • Schulhoffs Flammen
    ERWIN SCHULHOFF Zur Wiederentdeckung seiner Oper „Flammen“ Kloster-Sex, Nekrophilie, alles eins Schulhoffs "Flammen". Entdeckung im "Don Juan"-Zyklus des Theaters an der Wien. Am Anfang war das Ich. Dann das Es. Und das Überich erst, lieber Himmel, da hat sich die Menschheit etwas eingebrockt, als sie alle Dämme brechen ließ und den Kaiser wie den Lieben Gott gute Männer sein ließen. Nichts klärt uns über die Befindlichkeit der Sigmund- Freud-Generation besser auf als die Kunst der Ära zwischen 1900 und 1933, ehe die Politik - wie zuvor schon in der sowjetischen Diktatur - auch in 9. August 2006 SINKOTHEK Deutschland die ästhetischen Koordinatensysteme diktierte. Beobachtet man in Zeiten, wie die unsre eine ist, die diversen sexuellen, religiösen und sonstigen Wirrnisse, von denen die damalige Menschheit offenbar fasziniert war, fühlt man sich, wie man im Kabarett so schön sang, "apres". Sex im Kloster, Nekrophilie, alles eins. Tabus kennen wir nicht mehr; jedenfalls nicht in dieser Hinsicht. Das Interesse an einem Werk wie "Flammen", gedichtet von Max Brod frei nach Karel Josef Benes, komponiert von dem 1942 von den Nationalsozialisten ermordeten Erwin Schulhoff, ist denn auch vorrangig musikhistorischer Natur. Es gab 9. August 2006 SINKOTHEK mehr zwischen Schönberg und Lehar als unsere Schulweisheit sich träumen lässt. Erwin Schulhoff war ein Meister im Sammeln unterschiedlichster Elemente aus den Musterkatalogen des Im- wie des Expressionismus. Er hatte auch ein Herz für die heraufdämmernde Neue Sachlichkeit, ohne deshalb Allvater Wagner zu verleugnen. Seine "Flammen", exzellent instrumentiert mit allem Klingklang von Harfe, Glocke und Celesta, das jeglichen alterierten Nonenakkord wie ein Feuerwerk schillern und glitzern lässt, tönen mehr nach Schreker als nach Hindemith - auch wenn das einleitende Flötensolo beinahe den keusch-distanzierten Ton der "Cardillac"- Musik atmet.
    [Show full text]
  • Maggie Jones Junior Recital, Spring 2017
    Department of Music, Theatre and Dance Fulton School of Liberal Arts A Junior Recital given by Maggie Jones, Mezzo-Soprano Special Guests Syed Jaffery, Tenor John Wixted, Tenor From the studio of Dr. John Wesley Wright Accompanied by Veronica Tomanek In partial fulfillment of the requirements for the Bachelor of Arts in Music - Vocal Performance Sunday, May 14, 2017 Holloway Hall, Great Hall 5 p.m. www.salisbury.edu PROGRAM PROGRAM Ridente la calma (Armida) , K. 210a .... attr. to/arr. by W. A. Mozart; music by Josef Myslive ček (1737-1781) Ridente la calma Contented Calm Poet Unknown Translation by John Wesley Wright Ridente la calma nell’alma si desti, Contented calm in the soul awakens itself, Nè resti un segno di sdegno e timor. Neither a sign of anger nor fear remains. Tu vieni frattanto a stringer, mio bene, You come in the meantime to tighten, my dear, Le dolci catene si grate al mio cor. The sweet chains that are pleasing to my heart. Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, K. 520 .............. W. A. Mozart Abendempfindung, K. 523 (1756-1791) Als Luise die Briefe ihres As Louise Burned the Letter ungetreuen Liebhabers verbrannte of Her Faithless Lover Poem by Gabriele von Baumberg Translation by John Wesley Wright Erzeugt von heisser Phantasie, Produced by hot fantasy, In einer schwärmerischen Stunde In a rapturous hour brought Zur Welt gebrachte - geht zu Grunde, To the world - go to the ground (Die!), Ihr Kinder der Melancholie! You children of melancholy! Ihr danket Flammen euer Sein. You may thank flames for your existence.
    [Show full text]
  • 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
    [Show full text]
  • Your Tuneful Voice Iestyn Davies
    VIVAT-105-Booklet.pdf 1 18/11/13 20:22 YOUR TUNEFUL VOICE Handel Oratorio Arias IESTYN DAVIES CAROLYN SAMPSON THE KING’S CONSORT ROBERT KING VIVAT-105-Booklet.pdf 2 18/11/13 20:22 YOUR TUNEFUL VOICE Handel Oratorio Arias 1 O sacred oracles of truth (from Belshazzar) [5’01] Who calls my parting soul from death (from Es ther) [3’13] with Carolyn Sampson soprano 2 Mortals think that Time is sleeping (from The Triumph of Time and Truth) [7’05] On the valleys, dark and cheerless (from The Triumph of Time and Truth) [4’00] 3 Tune your harps to cheerful strains (from Es ther) [4’45] with Rachel Chaplin oboe How can I stay when love invites (from Es ther) [3’06] 4 Mighty love now calls to arm (from Alexander Balus) [2’35] 5 Overture to Jephtha [6’47] 5 [Grave] – Allegro – [Grave] [5’09] 6 Menuet [1’38] 7 Eternal source of light divine (from Birthday Ode for Queen Anne) [3’35] with Crispian Steele-Perkins trumpet 8 Welcome as the dawn of day (from Solomon) [3’32] with Carolyn Sampson soprano 9 Your tuneful voice my tale would tell (from Semele) [5’12] with Kati Debretzeni solo violin 10 Yet can I hear that dulcet lay (from The Choice of Hercules) [3’49] 11 Up the dreadful steep ascending (from Jephtha) [3’36] 12 Overture to Samson [7’43] 12 Andante – Adagio [3’17] 13 Allegro – Adagio [1’37] 14 Menuetto [2’49] 15 Thou shalt bring them in (from Israel in Egypt) [3’15] VIVAT-105-Booklet.pdf 3 18/11/13 20:22 O sacred oracles of truth (from Belshazzar) [5’01] 16 Who calls my parting soul from death (from Es ther) [3’13] with Carolyn Sampson soprano
    [Show full text]
  • Mona Lisa LEON BOTSTEIN, Conductor
    Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence.
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • The Baritone Voice in the Seventeenth and Eighteenth Centuries: a Brief Examination of Its Development and Its Use in Handel’S Messiah
    THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH BY JOSHUA MARKLEY Submitted to the graduate degree program in The School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. John Stephens ________________________________ Dr. Michelle Hayes ________________________________ Dr. Paul Laird ________________________________ Dr. Julia Broxholm ________________________________ Mr. Mark Ferrell Date Defended: 06/08/2016 The Dissertation Committee for JOSHUA MARKLEY certifies that this is the approved version of the following dissertation: THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH ________________________________ Chairperson Dr. John Stephens Date approved: 06/08/2016 ii Abstract Musicians who want to perform Handel’s oratorios in the twenty-first century are faced with several choices. One such choice is whether or not to use the baritone voice, and in what way is best to use him. In order to best answer that question, this study first examines the history of the baritone voice type, the historical context of Handel’s life and compositional style, and performing practices from the baroque era. It then applies that information to a case study of a representative sample of Handel’s solo oratorio literature. Using selections from Messiah this study charts the advantages and disadvantages of having a baritone sing the solo parts of Messiah rather than the voice part listed, i.e. tenor or bass, in both a modern performance and an historically-informed performance in an attempt to determine whether a baritone should sing the tenor roles or bass roles and in what context.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XXVII, Number 2 Summer 2012 FROM THE PRESIDENT’S DESK SUMMER 2012 I would like to thank all the members of the Society who have paid their membership dues for 2012, and especially those who paid to be members of the Georg-Friedrich-Händel Gesellschaft and/or friends of The Handel Institute before the beginning of June, as requested by the Secretary/Treasurer. For those of you who have not yet renewed your memberships, may I urge you to do so. Each year the end of spring brings with it the Handel Festivals in Halle and Göttingen, the latter now regularly scheduled around the moveable date of Pentecost, which is a three-day holiday in Germany. Elsewhere in this issue of the Newsletter you will find my necessarily selective Report from Halle. While there I heard excellent reports on the staging of Amadigi at Göttingen. Perhaps other members of the AHS would be willing to provide reports on the performances at Göttingen, and also those at Halle that I was unable to attend. If so, I am sure that the Newsletter Angelica Kauffmann, British, born in Switzerland, 1741-1807 Portrait of Sarah Editor would be happy to receive them. Harrop (Mrs. Bates) as a Muse ca. 1780-81 Oil on canvas 142 x 121 cm. (55 7/8 x 47 5/8 in.) Princeton University Art Museum. Museum purchase, Surdna Fund The opening of the festival in Halle coincided and Fowler McCormick, Class of 1921, Fund 2010-11 photo: Bruce M. White with the news of the death of the soprano Judith Nelson, who was a personal friend to many of us.
    [Show full text]
  • Download Booklet
    VIVALDI - HANDEL Introduction Silete venti, HWV 242 George Frideric Handel (1685-1759) It is a great pleasure to have recorded these 1 Sinfonia e Recitativo [5.23] 2 Andante ma larghetto [7.21] glorious sacred works after performing them 3 Accompagnato [0.36] before an audience so many times. To make 4 Andante, Allergo [9.53] a recording with such a wonderful orchestra 5 Presto [3.14] and in the pearly acoustic of All Hallows’ Church, Gospel Oak was a joy. I hope you Gloria, HWV deest George Frideric Handel will share these feelings when you hear the result. 6 Gloria in excelsis Deo [2.28] 7 Et in terra pax [2.48] 8 Laudamus te, benedicimus te [2.18] Special thanks to my dearest parents, Nigel 9 Domine Deus, rex coelestis [1.14] and our wonderful children for their constant 0 Qui tollis peccata mundi [3.26] love and support. q Quoniam tu solus sanctus [3.38] Grace Davidson, 2018 Salve Regina, HWV 241 George Frideric Handel w Salve, Regina, Mater misericordiae [3.01] e Ad te clamamus exsules filii Evae [2.45] r Eia, ergo, advocate nostra [3.33] t O Clemens, O pie [1.34] Nulla in mundo pax sincera, RV630 Antonio Vivaldi (1678-1741) y Nulla in mundo pax sincera [6.09] u Blando colore oculos mundus decepit [1.13] i Spirat anguis [3.21] o Alleluia [2.13] Total timings: [76.11] GRACE DAVIDSON SOPRANO • ACADEMY OF ANCIENT MUSIC JOSePH CROUCH ARTISTIC LEADER www.signumrecords.com Silente Venti and it was perhaps composed with an eye to the upper hand of athleticism over the players, wild in places, but unmistakably Handel’.
    [Show full text]
  • Christian Gerhaher, Baritone Gerold Huber, Piano
    Tuesday, October 29, 2019 at 7:30 pm Mahler Songs Christian Gerhaher, Baritone Gerold Huber, Piano ALL-MAHLER PROGRAM Lieder eines fahrenden Gesellen (1883–85) Wenn mein Schatz Hochzeit macht Ging heut’ morgen übers Feld Ich hab’ ein glühend Messer Die zwei blauen Augen von meinem Schatz Selections from Des Knaben Wunderhorn (1887–1898) Wer hat dies Liedlein erdacht? Ablösung im Sommer Ich ging mit Lust durch einen grünen Wald Um schlimme Kinder artig zu Machen Rheinlegendchen Der Schildwache Nachtlied Intermission Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Alice Tully Hall, Starr Theater Adrienne Arsht Stage White Light Festival The White Light Festival 2019 is made possible by The Shubert Foundation, The Katzenberger Foundation, Inc., Mitsubishi Corporation (Americas), Mitsui & Co. (U.S.A.), Inc., Laura Pels International Foundation for Theater, Culture Ireland, The Joelson Foundation, Sumitomo Corporation of Americas, The Harkness Foundation for Dance, J.C.C. Fund, Japanese Chamber of Commerce and Industry of New York, Great Performers Circle, Lincoln Center Patrons and Lincoln Center Members Endowment support is provided by The Andrew W. Mellon Foundation and the Blavatnik Family Foundation Fund for Dance Lead Support for Great Performers provided by PGIM, the global investment management business of Prudential Financial, Inc. Additional Support for Great Performers is provided by Rita E. and Gustave M. Hauser, The Shubert Foundation, The Katzenberger Foundation, Inc., Audrey Love Charitable Foundation, Great Performers Circle, Lincoln Center Patrons and Lincoln Center Members Endowment support for Symphonic Masters is provided by the Leon Levy Fund Endowment support is also provided by UBS Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M.
    [Show full text]
  • Don Giovanni“-Aufführung Großartige Sängerinnen Und Sänger Und Gleich Zwei Unserer NDR Ensembles, Die NDR Radiophilharmonie Und Den NDR Chor, Erleben
    5. NDR Klassik Open Air WolfgangDon Amadeus Giovanni Mozart 25. August 2018 GRUSSWORT Sehr geehrte Damen und Herren, gerne begrüße ich Sie zum 5. NDR Klassik Open Air, einem musi- kalischen Ereignis, das Hannover auch am heutigen Abend wieder einen einzigartigen Glanz verleihen und Tausende Menschen zusammenführen wird. Ein Open Air live vor Ort im Maschpark, präsentiert im NDR Fernsehen heute ab 21.45 Uhr, im Stream auf NDR.de und im Hörfunk auf NDR Kultur. Sie werden in dieser „Don Giovanni“-Aufführung großartige Sängerinnen und Sänger und gleich zwei unserer NDR Ensembles, die NDR Radiophilharmonie und den NDR Chor, erleben. Zudem freue ich mich sehr über eine besondere Premiere beim NDR Klassik Open Air: Erstmals wird Lutz Marmor der exzellente Chefdirigent der NDR Radiophilharmonie, Andrew Intendant des NDR Manze, diesen Abend leiten. Das mit unseren Partnern, der Stadt Hannover und Hannover Concerts, ausgerichtete NDR Klassik Open Air ist inzwischen ein Opernereignis, das weit über die Gren- zen Hannovers und des NDR Sendegebiets hinausstrahlt und auch in Fachkreisen auf große Anerkennung stößt. Klassische Musik wird hier auf höchstem Niveau und auf ebenso stimmungsvolle wie eindringliche Weise einem breiten, vielfältigen Publikum ver- mittelt und fasziniert Klassik-Einsteiger wie Opernkenner gleicher- maßen. Ich wünsche Ihnen einen spannenden und bewegenden Abend mit Mozarts wunderbarem „Don Giovanni“! Ihr Lutz Marmor GRUSSWORT 02|03 Liebe Besucherinnen und Besucher, es ist wieder so weit: Das NDR Klassik Open Air wird heute Abend einmal mehr eine ganz besondere Atmosphäre in den Maschpark direkt am Rathaus und mitten in Hannovers City zaubern. Als kulturelles Großereignis ist dieses Highlight im hannoverschen Kultur-Sommer inzwischen fest verankert.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]