Sonia Prina, Alto Labarocca Ruben Jais, Conductor
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Press Caffarelli
Caffarelli pt3 VOIX-DES-ARTS.COM, 21_09_2013 http://www.voix-des-arts.com/2013/09/cd-review-arias-for-caffarelli-franco.html 21 September 2013 CD REVIEW: ARIAS FOR CAFFARELLI (Franco Fagioli, countertenor; Naïve V 5333) PASQUALE CAFARO (circa 1716 – 1787) JOHANN ADOLF HASSE (1699 – 1783), LEONARDO LEO (1694 – 1744), GENNARO MANNA (1715 – 1779), GIOVANNI BATTISTA PERGOLESI (1710 – 1736), NICOLA ANTONIO PORPORA (1686 – 1768), DOMENICO SARRO (1679 – 1744), and LEONARDO VINCI (1690 – 1730): Arias for Caffarelli—Franco Fagioli, countertenor; Il Pomo d’Oro; Riccardo Minasi [Recorded at the Villa San Fermo, Convento dei Pavoniani, Lonigo, Vicenza, Italy, 25 August – 3 September 2012; Naïve V 5333; 1CD, 78:31; Available from Amazon, fnac, JPC, and all major music retailers] If contemporary accounts of his demeanor can be trusted, Gaetano Majorano—born in 1710 in Bitonto in the Puglia region of Italy and better known to history as Caffarelli—could have given the most arrogant among the opera singers of the 21st Century pointers on enhancing their self-appreciation. Unlike many of his 18th-Century rivals, Caffarelli enjoyed a certain level of privilege, his boyhood musical studies financed by the profits of two vineyards devoted to his tuition by his grandmother. Perhaps most remarkable, especially in comparison with other celebrated castrati who invented elaborate tales of childhood illnesses and unfortunate encounters with unfriendly animals to account for their ‘altered’ states, is the fact that, having been sufficiently impressed by the quality of his puerile voice or convinced thereof by the praise of his tutors, Caffarelli volunteered himself for castration. It is suggested that his most influential teacher, Porpora, with whom Farinelli also studied, was put off by Caffarelli’s arrogance but regarded him as the most talented of his pupils, reputedly having pronounced the castrato the greatest singer in Europe—a sentiment legitimately expressive of Porpora’s esteem for Caffarelli, perhaps, and surely a fine advertisement for his own services as composer and teacher. -
Opera Olimpiade
OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello. -
SONIA PRINA, Contralto
CNDM | UNIVERSO BARROCO EUROPA GALANTE 19/20 SONIA PRINA, contralto Sonia Prina es una de las principales contraltos de su generación y una de las más solicitadas. Estudió en el Conservatorio Giuseppe Verdi en Milán donde se graduó en trompeta y voz. En 1996 le ofrecen un lugar en la Academia para cantantes jóvenes del Teatro de la Scala de Milán, donde debuta con tan solo 23 años, como Rosina en El Barbero de Sevilla bajo la batuta de R. Chailly, junto a un joven Juan Diego Flórez como Almaviva. Su personal voz rápidamente es reconocida en la escena lírica internacional. Es ganadora de numerosos premios, incluido el prestigioso Premio italiano de la crítica Abbiati en 2006 y el Tiberini d'Oro en 2014 como “Mejor cantante del año”. Colabora habitualmente con directores como Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Fabio Biondi, Ivor Bolton, Alan Curtis, William Christie, Ottavio Dantone, Diego Fasolis, Christopher Hogwood, René Jacobs, Paul McCreesh, Marc Minkowski y Jean Christophe Spinosi, Patrick Summers, Jordi Savall, y aparece en producciones de Robert Carsen, David McVicar, Pier Luigi Pizzi, John Copley y David Alden. Destacan en los papeles protagonistas en Rinaldo (en el Teatro de la Scala de Milán, Ópera de Zúrich y Festival de Glyndebourne), en Ascanio en Alba (Festival de Salzburgo), Clarice en La Pietra di Paragone (Teatro del Châtelet, París), Ezio de Gluck (Frankfurt Oper), Aci, Galatea e Polifemo con René Jacobs (Bruselas), Polinesso en Ariodante (Festival de Aix en Provence) y La Resurrezione con Emmanuelle Haïm y la Berliner Philarmoniker. Recientemente ha interpretado a Smeton en Anna Bolena en el Teatro del Liceu (Barcelona) con Editha Gruberova y Elina Garanca, interpreta la Isabella en L’Italiana en Algeri (Teatro Regio, Torino) y la Maman, la Tasse chinoise, y la Libellule en L'Enfant et les Sortilèges (Palermo y Nápoles). -
Going for a Song
FESTIVALS GOING FOR A SONG The Brighton Early Music Festival 2012 celebrates its 10th birthday in 2012. Known for its lively and inspiring programming, this year’s highlights include its most spectacular production yet: ‘The 1589 Florentine Intermedi’. Organisers promise ‘a thrilling experience with all sorts of surprises.’ For more information, see http://www.bremf.org.uk Photo: ©BREMF Cambridge Early Music Italian Festival 28-30 September Italy was the source of many of the musical innovations of the fifteenth, sixteenth and seventeenth centuries, and CEM’s Festival of Italian Music explores this fertile period, welcoming some of Europe’s foremost performers of these genres. It was exactly 300 years ago that Vivaldi published his ground-breaking set of 12 Julian Perkins, one of the leaders of the new concertos, L’Estro Armonico generation of virtuoso keyboard players in the (The Birth of Harmony), which UK, will play Frescobaldi and the Scarlattis – La Serenissima (pictured), the father and son – in a lunchtime clavichord Vivaldi orchestra par excellence, recital on 30 September. will be playing with terrific verve and style. www.CambridgeEarlyMusic.org tel. 01223 847330 Come and Play! Lorraine Liyanage, who runs a piano school in south London, has always been intrigued by the harpsichord. Inspired by a colleague to introduce the instrument to her young students in her home, she tells how the experiment has gone from strength to strength – and led to the purchase of a spinet that fits obligingly in her bay window… 10 ast Summer, I received an email from Petra Hajduchova, a local musician enquiring about the possibility of teaching at my piano school. -
Le Cinesi. Revised Libretto by PIETRO METASTASIO, First Set by Nicola Conforto (1751 Aranjuez)
Le cinesi. Revised libretto by PIETRO METASTASIO, first set by Nicola Conforto (1751 Aranjuez). The scene represents a room in the house of Lisinga, decorated in the Chinese manner, with a table and four chairs. Lisinga, Sivene, and Tangia sit together drinking tea in an attitude of total preoccupation. Silango, listens unseen from the partly open door. Lisinga, after observing each of her companions for some time, finally breaks the silence. Bored, three young Chinese women ponder how they might amuse themselves in a manner that would be enjoyable, innocent, and different. Tangia has fleeting thoughts on the matter but they come to nothing. Much to their chagrin, Silango enters to offer his opinion, but since this is a room strictly off-limits to men, reputations are at stake and he must leave – but best to delay until darkness offers its cover. Meanwhile, in spite of his recent travels in Europe, he must realize that he is no longer in France or Italy and must readjust to the customs of his native China. Lisinga suggests that as a group, they perform a dramatic piece. All three agree, but in turning to such a European pastime, each one favours a different genre. Lisinga opts for an heroic drama, while Sivene would have a pastoral and Tangia a comedy. Thus Silango proposes that each one perform a scene in her preferred style and they will adopt the one they consider to be the best. Since her companions hesitate, Lisinga takes the lead and as Andromache, widow of Hector, plays out a scene in which the life of their child, Astyanax, is threatened by Pyrrhus, unless she agree to marry him. -
Georg Friedrich Händel (1685-1759)
Georg Friedrich Händel (1685-1759) Sämtliche Werke / Complete works in MP3-Format Details Georg Friedrich Händel (George Frederic Handel) (1685-1759) - Complete works / Sämtliche Werke - Total time / Gesamtspielzeit 249:50:54 ( 10 d 10 h ) Titel/Title Zeit/Time 1. Opera HWV 1 - 45, A11, A13, A14 116:30:55 HWV 01 Almira 3:44:50 1994: Fiori musicali - Andrew Lawrence-King, Organ/Harpsichord/Harp - Beate Röllecke Ann Monoyios (Soprano) - Almira, Patricia Rozario (Soprano) - Edilia, Linda Gerrard (Soprano) - Bellante, David Thomas (Bass) - Consalvo, Jamie MacDougall (Tenor) - Fernando, Olaf Haye (Bass) - Raymondo, Christian Elsner (Tenor) - Tabarco HWV 06 Agrippina 3:24:33 2010: Akademie f. Alte Musik Berlin - René Jacobs Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, Bejun Mehta (Counter-Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) - Lesbo HWV 07 Rinaldo 2:54:46 1999: The Academy of Ancient Music - Christopher Hogwood Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna, Sirena II, Catherine Bott (Soprano) - Sirena I, Mark Padmore (Tenor) - Un Araldo HWV 08c Il Pastor fido 2:27:42 1994: Capella -
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 -
Opening Nights at the Opera 1641–1744
Cambridge University Press 0521851459 - The Transvestite Achilles: Gender and Genre in Statius’ Achilleid P. J. Heslin Excerpt More information 1 Opening N ights at the Opera 1641–1744 Eccoti ò Lettore in questi giorni di Carnevale un’Achille in maschera. Preface to L’Achille in Sciro, Ferrara 1663* ver the course of the late seventeenth and early eighteenth cen- turies, the story of Achilles in Scyros was represented many times on operatic stages across Europe. Given the nature of the young genre, it O 1 is not hard to see why this motif was popular. To illustrate the principle, con- trast the Elizabethan theater, where the custom of boy actors playing the parts of women lent a certain piquancy to plots in which a female character dressed as a man: thus a boy played a woman playing a man. In Baroque opera, the sit- uation was reversed. The primary roles were almost invariably scored for high voices, which could only be sung by a woman or a man whose secondary sexual 2 characteristics had not developed. In most cases the choice between a female singer and a castrato seems to have been determined by the local availability of 3 singers rather than the pursuit of naturalism. It was not impossible to see the * “In these days of Carnival, here is Achilles wearing a mask for you, dear reader.” On this text, see below (p 11). 1 Thus Rosselli (1992: 58). 2 This was accomplished by cutting the spermatic cords or by orchidectomy before puberty: see Jenkins (1998) on the procedure and physiology, and on the social context, see Rosselli (1988)or more succinctly Rosselli (1992: 32–55). -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXI, Number 3 Winter 2006 AMERICAN HANDEL SOCIETY- PRELIMINARY SCHEDULE (Paper titles and other details of program to be announced) Thursday, April 19, 2006 Check-in at Nassau Inn, Ten Palmer Square, Princeton, NJ (Check in time 3:00 PM) 6:00 PM Welcome Dinner Reception, Woolworth Center for Musical Studies Covent Garden before 1808, watercolor by Thomas Hosmer Shepherd. 8:00 PM Concert: “Rule Britannia”: Richardson Auditorium in Alexander Hall SOME OVERLOOKED REFERENCES TO HANDEL Friday, April 20, 2006 In his book North Country Life in the Eighteenth Morning: Century: The North-East 1700-1750 (London: Oxford University Press, 1952), the historian Edward Hughes 8:45-9:15 AM: Breakfast, Lobby, Taplin Auditorium, quoted from the correspondence of the Ellison family of Hebburn Hall and the Cotesworth family of Gateshead Fine Hall Park1. These two families were based in Newcastle and related through the marriage of Henry Ellison (1699-1775) 9:15-12:00 AM:Paper Session 1, Taplin Auditorium, to Hannah Cotesworth in 1729. The Ellisons were also Fine Hall related to the Liddell family of Ravenscroft Castle near Durham through the marriage of Henry’s father Robert 12:00-1:30 AM: Lunch Break (restaurant list will be Ellison (1665-1726) to Elizabeth Liddell (d. 1750). Music provided) played an important role in all of these families, and since a number of the sons were trained at the Middle Temple and 12:15-1:15: Board Meeting, American Handel Society, other members of the families – including Elizabeth Liddell Prospect House Ellison in her widowhood – lived in London for various lengths of time, there are occasional references to musical Afternoon and Evening: activities in the capital. -
Judit Zsovár Anna Maria Strada Del Pò, Handel's Prima Donna: Portrait of an Uncommon Voice
Liszt Academy of Music Doctoral School (7.6 Musical Art) Judit Zsovár Anna Maria Strada del Pò, Handel’s Prima Donna: Portrait of an Uncommon Voice PhD Theses Supervisor: Dr. Gergely Fazekas 2016 1. RESEARCH BACKGROUND George Frideric Handel’s longest continuous collaboration with a leading singer took place between 1729 and 1737 with Anna Maria Strada del Pò (according to my research, her places and dates of birth and death are: Bergamo, 1703 ‒ Naples, 20 July 1775), who ʻseems to have pleased him most’. Charles Burney considered her as an artist ‘formed by the composer himself’. I have chosen to investigate Strada’s vocal activities in connection with the music written for her not only by Handel, but also by Antonio Vivaldi, Leonardo Leo, Leonardo Vinci, Domenico Sarro and others. This singer has become a research focus neither in Handel research nor in the field of eighteenth-century vocality until now. Her neglect by modern musicology, besides the scarcity of surviving period descriptions of her singing and private life, is mainly due to the popularity of her star-contemporaries, Francesca Cuzzoni and Faustina Bordoni, and of castrati such as Senesino, Farinelli and Carestini. Nevertheless, very important remarks have been made about her singing by writers including Ellen T. Harris (‘Das Verhältnis von Lautstärke und Stimmlage im Barockgesang’, In: Aufführungspraxis der Händel-Oper, 1988/1989; ‘Singing’, Grove Music Online), Reinhard Strohm (The Operas of Antonio Vivaldi, 2008; ‘Vivaldi’s career as an opera producer’, in: Essays on Handel and Italian Opera, 1985), Rodolfo Celletti (Storia del belcanto, 1983), Winton Dean (Handel’s Operas, 1726‒1741, 2006), J. -
METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M.