DOCSLIB.ORG

572700-02 Bk Handel EU

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
572700-02 Bk Handel EU 3 CDs HANDEL Theodora (Oratorio) Wieland • Schmid Vitzthum • Schoch Mertens Junge Kantorei Frankfurt Baroque Orchestra Joachim Carlos Martini George Frideric CD 1 77:34 $ 14. Recitativo (Irene) Oh bright example 0:30 1 1. Overtura: Maestoso – Trio – Courante 7:43 % 15. Air (Irene) HANDEL Bane of virtue 5:14 (1685-1759) Act I ^ 16. Chorus of Christians Come, mighty father 2:54 Theodora, HWV 68 Scene 1 Scene 4 An Oratorio 2 2. Recitativo (Valens) ’Tis Dioclesian’s natal day 0:36 & 17. Recitativo (Messenger & Irene) 3 3. Air (Valens) Fly, fly, my brethren! 1:03 Libretto by Thomas Morell (1703-1784) Go, my faithful soldier 2:04 * 18. Air (Irene) after the anonymously published novel 4 4. Chorus of Heathens As with rosy steps 5:27 And draw a blessing down 2:20 ( 19. Chorus of Christians The Martyrdom of Theodora and Didymus 5 5. Recitativo (Didymus & Valens) All pow’r in heaven above 2:19 by Robert Boyle (1627-1691) Vouchsafe, dread Sir 1:04 6 6. Air (Valens) Scene 5 Racks, gibbets, sword and fire 3:53 Theodora . Christina Wieland, Soprano 7 7. Chorus of Heathens ) 20. Recitativo (Septimius) For ever thus stands fix’d the doom 2:16 Mistaken wretches! 0:26 Irene . Diana Schmid, Mezzo-soprano ¡ 21. Air (Septimius) Didymus . Franz Vitzthum, Countertenor Scene 2 Dread the fruits of Christian folly 3:04 ™ 22. Recitativo (Theodora & Septimius) Septimius . Knut Schoch, Tenor 8 8. Recitativo (Didymus) Deluded mortal! 0:56 Valens . Klaus Mertens, Bass-baritone Most cruel edict! 0:32 £ 23. Accompagnato (Theodora) 9 9. Air (Didymus) Oh worse than death 0:24 The raptur’d soul 7:54 ¢ 24. Air (Theodora) Junge Kantorei 0 10. Recitativo (Septimius) Angels, ever bright and fair 3:00 I know thy virtues 0:50 Frankfurt Baroque Orchestra ! 11. Air (Septimius) Scene 6 Descend, kind Pity 7:30 Joachim Carlos Martini ∞ 25. Recitativo (Didymus & Irene) Unhappy, happy crew! 1:22 Scene 3 § 26. Accompagnato & Air (Didymus) Kind Heaven 5:04 @ 12. Recitativo (Theodora) ¶ 27. Recitativo (Irene) Though hard 0:24 Oh love, how great thy pow’r 0:23 # 13. Air (Theodora) • 28. Chorus of Christians Fond flatt’ring world, adieu! 4:02 Go, gen’rous pious youth! 4:21 CD 2 51:43 $ 42. Recitativo (Didymus & Septimius) CD 3 42:37 Scenes 4 & 5 Oh save her then 0:39 Act II % 43. Air (Didymus) Act III 9 63. Recitativo (Valens, Didymus & Theodora) Deeds of kindness 4:59 Scene 1 Is it a Christian virtue 2:14 Scene 4 Scene 1 0 64. Air (Septimius) 1 29. Recitativo (Valens) From virtue springs 4:43 Ye men of Antioch 0:39 ^ 44. Recitativo (Irene) 1 55. Air (Irene) ! 65. Air (Valens) 2 30. Chorus of Heathens The clouds begin to veil 0:42 Lord to Thee 4:50 Cease, ye slaves 1:19 Queen of summer 0:56 & 45. Air (Irene) @ 66. Recitativo (Didymus & Theodora) 3 31. Air (Valens) Defend her heaven 4:41 Wide spread his name 2:25 Scene 2 ’Tis kind, my friends 1:05 4 32. Recitativo (Valens) Scene 5 # 67. Chorus of Heathens Return, Septimius 0:45 How strange their ends 2:50 5 33. Chorus of Heathens 2 56. Recitativo (Irene & Theodora) * 46. Recitativo (Didymus) $ 68. Recitativo (Didymus, Theodora & Valens) Venus laughing from the skies 1:27 But see 0:41 Or lull’d with grief 0:32 On me your frowns 0:38 ( 47. Air (Didymus) 3 57. Air (Theodora) Scene 2 % 69. Air (Valens) Sweet rose and lily 2:33 When sunk in anguish 3:51 Ye ministers of justice 1:28 ) 48. Recitativo (Theodora & Didymus) 6 34. Symphony of soft musick 0:48 4 58. Chorus of Christians & Theodora Oh save me, Heaven 1:29 7 35. Recitativo (Theodora) Blest be the hand 3:06 ¡ 49. Air (Theodora) Scene 6 Oh thou bright sun! 0:31 The pilgrim’s home 2:17 8 36. Air (Theodora) Scene 3 With darkness deep 3:01 ™ 50. Accompagnato (Didymus) ^ 70. Recitativo (Didymus, Theodora & Septimius) Forbid it, Heaven! 0:54 9 37. Symphony of soft musick 1:31 And must such beauty suffer? 0:55 0 38. Recitativo (Theodora) £ 51. Recitativo (Didymus & Theodora) 5 59. Recitativo & Accompagnato & 71. Air & Duet (Didymus & Theodora) But why art thou disquieted 0:29 Or say, what right have I 1:09 (Messenger, Irene & Theodora) Streams of pleasure 4:54 ! 39. Air (Theodora) ¢ 52. Duet (Theodora & Didymus) Undaunted in the court 1:31 Oh that I on wings could rise 3:10 To thee 5:16 6 60. Duet (Irene & Theodora) Scene 7 Scene 3 Scene 6 Whither, princess, do you fly? 1:33 7 61. Recitativo (Irene) * 72. Recitativo (Irene) @ 40. Recitativo (Didymus & Septimius) ∞ 53. Recitativo (Irene) She’s gone! 0:34 Ere this their doom is past 0:27 Long have I known 1:21 ’Tis night 0:57 # 41. Air (Septimius) § 54. Chorus of Christians 8 62. Air (Irene) ( 73. Chorus of Christians Though the honours 4:16 He saw the lovely youth 4:13 New scenes of joy 3:32 Oh Love divine 2:27 George Frideric Handel (1685-1759) since there are many whose consciences will not allow them in Theodora’s shame. Didymus seeks his help in saving Theodora, An Oratorio, HWV 68 to join in these rites. Valens, nevertheless, sticks to his view, Theodora. threatening any who refuse to obey. His followers rejoice. Scene 4: As evening falls, Irene laments the coming fate The libretto of the oratorio Theodora was written by the that if you would have it again, he would engage for all the Scene 2: Didymus tells Septimius that persecution is of Theodora. Anglican cleric and philologist the Reverend Dr Thomas Boxes.’ ‘He is a Fool; the Jews will not come to it (as to wrong in any attempt to compel belief. Septimius, Scene 5: Theodora’s place of confinement is seen, with Morell, taking as his model the tale by Robert Boyle, Judas) because it is a Christian story; and the Ladies will although still an adherent of the old religion, feels Didymus approaching, the visor of his helmet closed. published anonymously in 1687, Love and Religion not come, because it [is] a virtuous one.’ Something of the sympathy but must obey the Roman governor. Didymus explains that he has come to save Theodora, demonstrated in the Martyrdom of Theodora and Didymus. attitude of the London audience is considered below, in the Scene 3: Theodora, with Irene and a group of Christians, and, as he reveals his identity, tells her to change clothes This tale, in turn, was based on a legend of martyrs in the article Theodora and the London Public. enters. She bids the world farewell, and Irene stresses the with him. Theodora praises his courage and begs him to fourth century and its literary adaptations in the A further performance in 1755 had no public success, vanity of human passions and of prosperity, while true kill her, a plea he rejects. seventeenth century by, among others, Pierre Corneille. although the composer hoped to please public taste by happiness is to be found in pure religion. Scene 6: Irene, with the Christians, prays for Theodora. George Frideric Handel set the libretto in just four various abridgements and changes. A performance Scene 4: A messenger enters, urging the Christians to fly, weeks. In the autograph it is shown that the first act was planned for 1759, for which the score was again altered, but Irene declares that the Lord’s protection is CD 3 started on 28th June 1749 and the first part finished on 11th in the end did not take place. everywhere, sentiments endorsed by the Christians. July, with the end of the second act. The third act was My score is based on the original score and the 1860 Scene 5: Septimius joins them, rebuking them for their Act III finished on 31st July. This short space of time is still more Chrysander edition for the German Handel Society. A refusal to join the ceremonies in honour of Caesar and astonishing when we see that in the spring of 1749, Handel, number of changes were made in the conductor’s score of warning them of the consequences of such rebellion. Scene 1: Irene, with the Christians, continues her prayer. now 64 years old, directed first performances of the Theodora during its performance history, alterations Theodora rejects the imputation, declaring the absolute Scene 2: Theodora enters, in the guise of Didymus, and oratorios Susanna and Solomon, the ‘Anthem on the Peace’ precisely noted in the recent Halle Edition. With the help necessity of obeying God. Septimius tells her that the Irene welcomes the supposed Didymus. Theodora How beautiful are the feet for the celebration of the Peace of of this edition I have revised the recitatives, in order to guards have orders to take the women to a brothel. reveals herself, wishing that Didymus were also free. All Aix-la-Chapelle, the so-called ‘Caroline’ Te Deum, the Music clarify the narrative. Theodora prays for strength, as they go. join in prayer for Didymus. for the Royal Fireworks in Green Park and on 27th May, the Scene 6: Didymus enters, seeking his beloved Theodora, Scene 3: A messenger enters and tells of the courage of first benefit concert for the Foundling Hospital, with, among Joachim Carlos Martini and Irene tells him that Theodora has been taken to a Didymus, condemned by Valens, who has uttered further other works, the anthem composed for the Foundling brothel. Didymus resolves to save her, praised by Irene threats against Theodora.
Load more

Recommended publications
  • 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
    [Show full text]
  • Incoronazione Di Poppea *
    B USENELLO’ S S ECRET H ISTORY: An allegorical reading of L’incoronazione di Poppea * By Magnus Tessing Schneider The 1623 publication of Procopius’ Secret History shocked the scholarly world. The ancient historian’s rejection of his official account of the reign of Justinian I forced humanists to reflect on the general reliability of historical sources. The article suggests that Giovan Francesco Busenello’s libretto L’incoronazione di Poppea (1643) reflects the challenge posed by Procopius’ book. Though its portrayal of historical figures adheres to Tacitus’ Annals, it plays with the possibility that even Tacitus himself was deceived by Machiavellian rulers. Did he, for example, condemn Nero and Poppaea while praising Octavia because this was the truth, or because Octavia was, in fact, a superior politician who had managed to craft a favourable epitaph for herself? Nerone innamorato di Poppea, ch’era moglie di Ottone, lo mandò sotto pretesto d’ambasciaria in Lusitania per godersi la cara diletta, così rappresenta Cornelio Tacito. Ma quì si rappresenta il fatto diverso. Ottone, disperato nel vedersi privo di Poppea, dà nei deliri e nelle esclamazioni. Ottavia, moglie di Nerone, ordina ad Ottone che sveni Poppea. Ottone promette farlo; ma non bastandogli l’animo di levar la vita all’adorata Poppea, si traveste con l’abito di Drusilla ch’era innamorata di lui. Così travestito entra nel giardino di Poppea. Amore disturba e impedisce quella morte. Nerone ripudia Ottavia, nonostante i consigli di Seneca, e prende per moglie Poppea. Seneca more, e Ottavia vien discacciata da Roma.1 Nero, in love with Poppaea, Otho’s wife, sent the latter to Lusitania under the pretext of an ambassadorship in order to enjoy his dearly beloved.
    [Show full text]
  • 1 Liturgical Year 2020 of the Celtic Orthodox Church Wednesday 1St
    Liturgical Year 2020 of the Celtic Orthodox Church Wednesday 1st January 2020 Holy Name of Jesus Circumcision of Our Lord and Savior Jesus Christ Basil the Great, Bishop of Caesarea of Palestine, Father of the Church (379) Beoc of Lough Derg, Donegal (5th or 6th c.) Connat, Abbess of St. Brigid’s convent at Kildare, Ireland (590) Ossene of Clonmore, Ireland (6th c.) ♦ Liturgy: Wis 3:10-19 Eph 3:1-7 Lk 6:5-11 Holy Name of Jesus: ♦ Vespers: Ps 8 and 19 ♦ 1st Nocturn: Ps 64 1Tm 2:1-6 Lk 6:16-22 ♦ 3rd Nocturn: Ps 71 and 134 Phil 2:6-11 ♦ Matins: Jn 10:9-16 ♦ Liturgy: Gn 17:1-14 Ps 112 Col 2:8-12 Lk 2:20-21 ♦ Sext: Ps 53 ♦ None: Ps 148 1 Thursday 2 January 2020 Seraphim, priest-monk of Sarov (1833) Adalard, Abbot of Corbie, Founder of New Corbie (827) John of Kronstadt, priest and confessor (1908) Seiriol, Welsh monk and hermit at Anglesey, off the coast of north Wales (early 6th c.) Munchin, monk, Patron of Limerick, Ireland (7th c.) The thousand Lichfield Christians martyred during the reign of Diocletian (c. 333) ♦ Liturgy: Wis 4:1-6 Eph 3:8-13 Lk 8:24-36 Friday 3 January 2020 Genevieve, virgin, Patroness of Paris (502) Blimont, monk of Luxeuil, 3rd Abbot of Leuconay (673) Malachi, prophet (c. 515 BC) Finlugh, Abbot of Derry (6th c.) Fintan, Abbot and Patron Saint of Doon, Limerick, Ireland (6th c.) ♦ Liturgy: Wis 4:7-14a Eph 3:14-21 Lk 6:46-49 Saturday 4 January 2020 70 Disciples of Our Lord Jesus Christ Gregory, Bishop of Langres (540) ♦ Liturgy: Wis 4:14b-20 Eph 4:1-16 Lk 7:1-10 70 Disciples: Lk 10:1-5 2 Sunday 5 January 2020 (Forefeast of the Epiphany) Syncletica, hermit in Egypt (c.
    [Show full text]
  • 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.
    [Show full text]
  • CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
    *141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital).
    [Show full text]
  • Handel Arias
    ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry.
    [Show full text]
  • Theodora - It Would Be Useful for Your Students to Know Something of This Before the Workshop
    T h eo d o ra Oratorio in three parts Libretto by Thomas Morell Premiere: Royal Opera House, Covent Garden, 16th March 1750 and generously funded by the Esmée Fairbairn Foundation 1 T h eo d o ra Preparing for a workshop This pack contains information about the basic storyline and characters of Theodora - it would be useful for your students to know something of this before the workshop. The entire pack will not take long to read. 2 T h eo d o ra 3 T h eo d o ra President of Antioch (Roman) Determined to destroy anyone who will not worship the Roman gods. Bass Didymus Young Roman soldier Secretly a Christian, but afraid to admit this even to his closest friend. Counter-tenor Septimius Roman Officer, friend and former comrade-in-arms of Didymus Hates the oppression of the Christians, but is afraid to speak out or act against it. A good, spiritual man, he still worships the Roman gods. Tenor Theodora Young noblewoman of Antioch, (Christian) Has a devout faith in God and is unafraid of death. She prizes her untainted reputation as a virgin. Soprano Irene Leader of the Christians, friend and confidante of Theodora Helps the Christians find the strength to carry on in a time of great danger and persecution. Mezzo-soprano Chorus of Romans Chorus of Christians 4 T h eo d o ra Overview Handel’s oratorio Theodora is an exploration of the universal themes of love, devotion and sacrifice and asks the question “How far would you be willing to go for what you believe?” The brave and unyielding young noblewoman Theodora is arrested by the Roman guard in a violent crack down on Christianity.
    [Show full text]
  • Handel's Messiah Freiburg Baroque Orchestra
    Handel’s Messiah Freiburg Baroque Orchestra Wednesday 11 December 2019 7pm, Hall Handel Messiah Freiburg Baroque Orchestra Zürcher Sing-Akademie Trevor Pinnock director Katherine Watson soprano Claudia Huckle contralto James Way tenor Ashley Riches bass-baritone Matthias von der Tann Matthias von There will be one interval of 20 minutes between Part 1 and Part 2 Part of Barbican Presents 2019–20 Please do ... Turn off watch alarms and phones during the performance. Please don’t ... Take photos or make recordings during the performance. Use a hearing aid? Please use our induction loop – just switch your hearing aid to T setting on entering the hall. The City of London Corporation Programme produced by Harriet Smith; is the founder and advertising by Cabbell (tel 020 3603 7930) principal funder of the Barbican Centre Welcome This evening we’re delighted to welcome It was a revolutionary work in several the Freiburg Baroque Orchestra and respects: drawing exclusively on passages Zürcher Sing-Akademie together with four from the Bible, Handel made the most of outstanding vocal soloists under the his experience as an opera composer in direction of Trevor Pinnock. The concert creating a compelling drama, with the features a single masterpiece: Handel’s chorus taking an unusually central role. To Messiah. the mix, this most cosmopolitan of figures added the full gamut of national styles, It’s a work so central to the repertoire that from the French-style overture via the it’s easy to forget that it was written at a chorale tradition of his native Germany to time when Handel’s stock was not exactly the Italianate ‘Pastoral Symphony’.
    [Show full text]
  • St. Elijah Orthodox Christian Church
    ST. ELIJAH ORTHODOX CHRISTIAN CHURCH 15000 N. May, Oklahoma City, OK 73134 Church Office: 755-7804 Church Website: www.stelijahokc.com Church Email: [email protected] APRIL 5, 2020 Issue 32 Number 14 Fifth Sunday of Great Lent (Commemoration of our Righteous Mother Mary of Egypt); Saints of the Day: Martyrs Claudius, Diodore and their companions; New-Martyr George of New Ephesus; Venerable Theodora and Didymus of Alexandria DIRECTORY WELCOME V. Rev. Fr. John Salem Parish Priest 410-9399 We welcome all our visitors. It is an honor to have you worshipping with us. You may find the worship of the Rev. Fr. Elias Khouri Ancient Church very different. We welcome your questions. Assistant Priest 640-3016 Please join us for our Reception held in the Church Hall V. Rev. Fr. Constantine Nasr immediately following the Divine Liturgy. Emeritus We understand Holy Communion to be an act of our unity in Rev. Dn. Ezra Ham faith. While we work toward the unity of all Christians, it Administrator 602-9914 regrettably does not now exist. Therefore, only baptized Rev. Fr. Ambrose Perry Orthodox Christians (who have properly prepared) are Attached permitted to participate in Holy Communion. However, everyone is welcome to partake of the blessed bread that is Anthony Ruggerio 847-721-5192 distributed at the end of the service. We look forward to Youth Director meeting you during the Reception that follows the service. Mom’s Day Out & Pre-K NEW ORTHROS & LITURGY BOOK Sara Cortez – Director 639-2679 Orthros: p. 4 Email: [email protected] Facebook: “St Elijah Mom’s Day Out” The Divine Liturgy p.
    [Show full text]
  • Heroes and Heroines Handel
    Heroes & Heroines Booklet (New Times) 5/5/05 9:03 Page 2 CORO The Sixteen Edition CORO The Sixteen Edition Sarah Connolly Heroes and Heroines Handel To find out more about HARRY CHRISTOPHERS The Sixteen, concerts tours THE SYMPHONY OF or to buy CDs, visit www.thesixteen.com C O R 1 6 0 2 5 HARMONY AND INVENTION Heroes & Heroines Booklet (New Times) 5/5/05 9:03 Page 46 FROM HERCULES (Dejanira) I have to confess thatOfficial this recording launch of makes‘Heroes me and feel Heroines’ very Sarah Connolly proud. Proud, in thatat everythe 2004 singer Handel who in has Oxford ever Festival,left The bm Sinfonia (Act 2) Sixteen to pursue a solomade career, possible has through been, andthe generousindeed is, Heroes and Heroines very successful. Sarahsupport Connolly, of The however, Zvi Meitar is more Family than Fund. that – she is exceptional. bn Recitative George Frideric Handel She sang with theRecording group in Producer: the late Mark 1980s Brown and early 1990s and her virtuosity,Recording stunning Engineer: performing Mike Hatch ability Dissembling, false, perfidious Hercules!HARRY CHRISTOPHERSThe sun should cease to dawn, the silver moon and vivacious personalityRecorded were at St. very Silas muchthe Martyr, apparent then; Did he not swear, when THEfirst heSYMPHONY woo’d my OFlove, HARMONYBe blotted AND fromINVENTION her orb, ere he prov’d false? Kentish Town, London there was always an additional surge of electricity when Photography: Peter Warren. www.peterwarren.co.uk she was around. Now, of course, Sarah is one ofVocal this Consultant: country’s Gerald finest Martin singers Moore and a great Handelian.
    [Show full text]
  • Rodelinda Regina De’Longobardi
    George Frideric Handel Rodelinda Regina de’Longobardi CONDUCTOR Opera in three acts Harry Bicket Libretto by Nicola Francesco Haym, adapted from PRODUCTION Antonio Salvi’s work of the same name Stephen Wadsworth Saturday, December 3, 2011, 12:30–4:35 pm SET DESIGNER Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER The production of Rodelinda was made possible Peter Kaczorowski by a generous gift of John Van Meter. Additional funding was received from Mercedes and Sid Bass, and the Hermione Foundation. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2011–12 Season The 20th Metropolitan Opera performance of George Frideric Handel’s Rodelinda Regina de’Longobardi This performance conductor is being Harry Bicket broadcast live over The cast in order of appearance Toll Brothers– Metropolitan Rodelinda, Queen of Milan, wife of Bertarido Opera Renée Fleming International Radio Network, Grimoaldo, usurper of Milan, betrothed to Eduige sponsored by Joseph Kaiser Toll Brothers, America’s luxury Garibaldo, counselor to Grimoaldo homebuilder®, Shenyang * with generous long-term Eduige, Bertarido’s sister, bethrothed to Grimoaldo support from Stephanie Blythe * The Annenberg Bertarido, King of Milan, believed to be dead Foundation, the Andreas Scholl Vincent A. Stabile Endowment for Unulfo, counselor to Grimoaldo, secretly loyal Broadcast Media, to Bertarido and contributions Iestyn Davies from listeners worldwide. Flavio, son of Rodelinda and Bertarido Moritz Linn This performance is also being continuo: broadcast live on Harry Bicket, harpsichord recitative Metropolitan Opera Bradley Brookshire, harpsichord ripieno Radio on SiriusXM David Heiss, cello , theorbo and baroque guitar channel 74. Daniel Swenberg Saturday, December 3, 2011, 12:30–4:35 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XXXII, Number 1 Spring 2017 AMERICAN HANDEL FESTIVAL 2017: CONFERENCE REPORT Carlo Lanfossi This year, Princeton University (Princeton, NJ) hosted the biennial American Handel Festival on April 6-9, 2017. From a rainstorm on Thursday to a shiny Sunday, the conference unfolded with the usual series of paper sessions, two concerts, and a keynote address. The assortment of events reflected the kaleidoscopic variety of Handel’s scholarship, embodied by a group of academics and performers that spans several generations and that looks promising for the future of Handel with the exploration by Fredric Fehleisen (The Juilliard School) studies. of the network of musical associations in Messiah, highlighting After the opening reception at the Woolworth Music musical-rhetorical patterns through Schenkerian reductions Center, the first day of the conference was marked by the Howard and a request for the audience to hum the accompanying Serwer Memorial Lecture given by John Butt (University of harmony of “I know that my Redeemer liveth.” Finally, Minji Glasgow) on the title “Handel and Messiah: Harmonizing the Kim (Andover, MA) reconstructed an instance of self-borrowing Bible for a Modern World?” Reminding the audience of the in the chorus “I will sing unto the Lord” from Israel in Egypt, need to interrogate the cultural values inherent to the creation tracing the musical lineage to the incipit of the English canon of Messiah, Butt structured his keynote address around various “Non nobis, Domine” through its use in the Cannons anthem topics and methodologies, including an analysis of Handel’s Let God Arise and the Utrecht Te Deum.
    [Show full text]