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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. -
A Passion for Opera the DUCHESS and the GEORGIAN STAGE
A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE PAUL BOUCHER JEANICE BROOKS KATRINA FAULDS CATHERINE GARRY WIEBKE THORMÄHLEN Published to accompany the exhibition A Passion for Opera: The Duchess and the Georgian Stage Boughton House, 6 July – 30 September 2019 http://www.boughtonhouse.co.uk https://sound-heritage.soton.ac.uk/projects/passion-for-opera First published 2019 by The Buccleuch Living Heritage Trust The right of Paul Boucher, Jeanice Brooks, Katrina Faulds, Catherine Garry, and Wiebke Thormählen to be identified as the authors of the editorial material and as the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the authors. ISBN: 978-1-5272-4170-1 Designed by pmgd Printed by Martinshouse Design & Marketing Ltd Cover: Thomas Gainsborough (1727-1788), Lady Elizabeth Montagu, Duchess of Buccleuch, 1767. Portrait commemorating the marriage of Elizabeth Montagu, daughter of George, Duke of Montagu, to Henry, 3rd Duke of Buccleuch. (Cat.10). © Buccleuch Collection. Backdrop: Augustus Pugin (1769-1832) and Thomas Rowlandson (1757-1827), ‘Opera House (1800)’, in Rudolph Ackermann, Microcosm of London (London: Ackermann, [1808-1810]). © The British Library Board, C.194.b.305-307. Inside cover: William Capon (1757-1827), The first Opera House (King’s Theatre) in the Haymarket, 1789. -
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 -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
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. -
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 -
The Reception of Agrippina, Mother of Nero, in Handel's Opera Agrippina
In die Skriflig / In Luce Verbi ISSN: (Online) 2305-0853, (Print) 1018-6441 Page 1 of 6 Original Research Agrippina as prima donna: The reception of Agrippina, mother of Nero, in Handel’s opera Agrippina Author: This article examines the way in which Agrippina, the mother of the emperor Nero, is depicted 1 Betine van Zyl Smit in Handel’s opera Agrippina. The opera’s libretto, written by Cardinal Vincenzo Grimani, Affiliation: draws upon the historical information in Suetonius’ biography of Claudius and upon the 1Department of Classics and events described in books 12 to 14 of Tacitus’ Annals. The article shows how Grimani juggled Archaeology, University of the chronology, events and relationships among the characters to omit the tragic and gruesome Nottingham, Nottingham, details, and to create a satirical comedy of succession. United Kingdom Keywords: Georg Friedrich Handel; Vincenzo Grimani; Agrippina Opera; Emperor Nero; Corresponding author: Betine Smit, Emperor Claudius; Empress Agrippina; Suetonius’ Biography of Claudius; Tacitus Annals [email protected] 12–14; Opera Libretto; Poppaea Sabina; Otho. Dates: Received: 07 June 2019 Accepted: 25 July 2019 Introduction Published: 31 Oct. 2019 The relationships and events at the heart of the Roman Empire in the middle years of the 1st century AD1 contain plenty of drama and intrigue. The accounts of Tacitus in his Annals and in the How to cite this article: Van Zyl Smit, B., 2019, biographies of the emperors Claudius and Nero by Suetonius, depict a series of marriages and ‘Agrippina as prima donna: murders that would make material for the most lurid fiction. Such events occurred at the courts The reception of Agrippina, of Claudius (41–54) and Nero (54–64). -
George Frideric Handel (1685-1759) Ellen T
MIT OpenCourseWare http://ocw.mit.edu 21M.013J The Supernatural in Music, Literature and Culture Spring 2009 For information about citing these materials or our Terms of Use, visit: http://ocw.mit.edu/terms. George Frideric Handel (1685-1759) Ellen T. Harris Alcina Opera seria: “serious opera”; the dominant form of opera from the late 17th century through much of the 18th; the texts are mostly based on history or epic and involve ethical or moral dilemmas affecting political and personal relationships that normally find resolution by the end Recitative: “recitation”; the dialogue or “spoken” part of the text, set to music that reflects the speed and intonation of speech; normally it is “simple” recitative, accompanied by a simple bass accompaniment; rarely in moments of great tension there can be additional orchestral accompaniments as in the incantation scene for Alcina (such movements are called “accompanied recitative”) Aria: the arias in opera seria are overwhelmingly in one form where two stanzas of text are set in the pattern ABA; that is, the first section is repeated after the second; during this repetition, the singer is expected to ornament the vocal line to create an intensification of emotion Formal units: individual scenes are normally set up so that a recitative section of dialogue, argument, confrontation, or even monologue leads to an aria in which one of the characters expresses his or her emotional state at that moment in the drama and then exits; this marks the end of the scene; scenes are often demarcated at the beginning -
Iphigénie En Tauride
Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
Handel's Agrippina," in Handel Studies: a Gedenkschrift for Howard Serwer, Ed
Handel’s Agrippina: A Critical Study of the Autograph and Early Sources Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Sean Gallagher, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Musicology by Jessica Vincent May 2014 Copyright by Jessica Vincent © 2014 ACKNOWLEDGEMENTS Writing this thesis would not have been possible without the help and support of my professors, colleagues, co-workers, friends, and family. First, I would like to thank my thesis advisor, Sean Gallagher, whose Handel seminar captured my imagination. His expertise and guidance helped shape my thesis and allowed me to discover a facet of musicology about which I am truly passionate. I also must thank my colleague Matthew Heck, who was my research partner during the initial stages of this project. Our meetings and persistent emails challenged me to think about details I otherwise would have overlooked. Of course, I must recognize my terrific professors here at Brandeis. Thanks to Eric Chafe, Seth Coluzzi, and Allan Keiler, without whom I would still be a stranger to the “Tristan chord”, modal theory, and Schenker. To my mentors and co-workers at the Robert D. Farber Archives & Special Collections Department at Brandeis: thank you for showing me the transcendent value of primary sources. I am forever a relentless advocate of archives. I thank my parents, Shane and Jennifer, who continue to encourage and support me in all of my academic endeavors. Last but certainly not least, I would like to thank my wonderful boyfriend, Jake, who dropped everything and moved across the country to support me while I pursued my master’s degree. -
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. -
Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.