DOCSLIB.ORG

Music As Drama an Edifice of Arias

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music As Drama an Edifice of Arias Music as Drama An Edifice of Arias OPERA SERIA, the dominant form in the first half of the 18th century, created in large part by Handel, invested almost its entire musical capital into solo arias—musical snapshots that would explore the character’s state of mind at a given moment in time. Exposition, dialogue, and action was all relegated to recitativo secco, dry recitative accompanied only by the harp- sichord or occasionally a cello. Taking an aria from Giulio Cesare (1724) by Handel, we shall look at the basic ingredients of the form. Then, in scenes from Rinaldo (1711), we shall look at some variations on the standard pattern. Finally, by watch- ing almost an entire act of his Orlando (1733), we shall see how Handel could put the various elements together into a co- gent, and occasionally amusing, psychological drama. A. Giulio Cesare: Anatomy of an Aria Giulio Cesare (1724), comes about halfway through the 42-opera career of George Frideric Handel (1685–1759). Its plot concerns the struggle for power between Cleopatra (aided by Julius Caesar) and her brother Tolomeo. At the lowest ebb in her fortunes, Cleopatra sings the aria “Piangerò la sorte mia”: I will lament my destiny, so cruel and so unfortunate, so long as my heart still beats. But when I am dead, from all sides my ghost will haunt Class 2. An Edifice of Arias the tyrant both night and day. Tuesday, September 22, 2020 This aria is typical in being in da capo form: an opening section, a Rinaldo (a rare duet). Then the imposing scena sung by Armida after shorter contrasting section (here unusually in a completely different she has been rejected by Rinaldo: a dramatic recitativo accom- mood), and a return to the opening, exactly the same on paper, but pagnato and two-tempo da capo aria. And finally, if time, part of traditionally altered by the singer for dramatic or vocal effect. “Lascia ch’io pianga,” Almirena’s lament when wooed by Argante. — Handel: Giulio Cesare, “Piangerò la sorte mia” — Handel: Rinaldo, scenes as listed above Joyce diDonato (recital disc, Alan Curtis c.) Anett Fritsch (Almirena), Varduhi Abrahamyan (Armida), Sonia Prina (Rinaldo). Glyndebourne 2011, Robert Carsen (d), Ottavio The implied rule of opera seria is “one tempo; one emotion.” So to Dantone (c). create a full psychological portrait of a complex characters, you need multiple arias. We shall try a kind of quiz, listening to the opening sections of five of Cleopatra’s other arias and assigning them to the descriptions:confident, despairing, ironic, rejoicing, or seductive. C. Orlando: Putting it All Together — Handel: Giulio Cesare, various arias The term opera seria did not necessarily mean that all operas were Danielle de Niese (Glyndebourne, 2005) solemn and heroic. And in his Orlando (1733), based upon another chivalric romance, Orlando Furioso by Ludovico Ariosto (1474– 1533), Handel indulged his taste for pastoral and even comedy. B. Rinaldo: Theme and Variations The Christian knight Orlando has been driven mad by his unrequited love for the pagan sorceress Angelica. But she has fallen in love with Handel’s Rinaldo (1711) was the first Italian opera ever written for the another knight, Medoro, whom she has found close to death and London stage. Its success came from its fantastic nature, being based nursed back to health in the hut of the shepherdess Dorinda. Most upon the Crusader romance Gerusalemme Liberata (Jerusalem Liber- of Act One has to do with the resultant complexities, as Angelica has ated) by Torquato Tasso (1544–95), giving Handel opportunities for to keep Orlando at arms’ length, and Medoro must break the news spectacular musical and theatrical response. The Glyndebourne ter- gently to Dorinda, who also loves him. The act ends in an extended centenary production by Robert Carsen responds with fantasy of a terzetto in pastoral vein, unique in Handel. complementary kind, setting it all in a Hogwarts-like boarding school. The 2007 production by Jens-Daniel Herzog for the Zurich Opera Both productions that we shall watch today, incidentally, take the moves the action to a psychiatric clinic in the First World War where solution of assigning the heroic male roles to contraltos or mezzo- Orlando, a decorated officer, is being treated for shell shock. sopranos in male dress. This is because such roles in Handel’s day were written for castrati, which we no longer have. We will, however, — Handel: Orlando, Act I, scene 2 get one glimpse of the other alternative, using a countertenor; the Martina Jankovà (Angelica), Christina Clark (Dorinda), Katharina aria is notable for using no less than four obbligato trumpets. Peetz (Medoro), Marijana Mijanovic (Orlando). Zurich 2007, Jens- Daniel Herzog (d), William Christie (c). — Handel: Rinaldo, “Or la tromba in suon festante” David Daniels (Munich 2007, Harry Bicket c.) Rinaldo, a Crusader knight, is in love with the innocent Almirena. She, For materials used in each class, see the instructor’s website: however, is captured by the Saracen king Argante, and Rinaldo falls http://www.brunyate.com/OperaAsDrama/ into the clutches of the sorceress Armida. We shall watch the first aria of Almirena (note the obbligato flutes) and her scene with Roger Brunyate may be contacted at [email protected] .
Load more

Recommended publications
  • April 1 & 3, 2021 Walt Disney Theater
    April 1 & 3, 2021 Walt Disney Theater FAIRWINDS GROWS MY MONEY SO I CAN GROW MY BUSINESS. Get the freedom to go further. Insured by NCUA. OPERA-2646-02/092719 Opera Orlando’s Carmen On the MainStage at Dr. Phillips Center | April 2021 Dear friends, Carmen is finally here! Although many plans have changed over the course of the past year, we have always had our sights set on Carmen, not just because of its incredible music and compelling story but more because of the unique setting and concept of this production in particular - 1960s Haiti. So why transport Carmen and her friends from 1820s Seville to 1960s Haiti? Well, it all just seemed to make sense, for Orando, that is. We have a vibrant and growing Haitian-American community in Central Florida, and Creole is actually the third most commonly spoken language in the state of Florida. Given that Creole derives from French, and given the African- Carribean influences already present in Carmen, setting Carmen in Haiti was a natural fit and a great way for us to celebrate Haitian culture and influence in our own community. We were excited to partner with the Greater Haitian American Chamber of Commerce for this production and connect with Haitian-American artists, choreographers, and academics. Since Carmen is a tale of survival against all odds, we wanted to find a particularly tumultuous time in Haiti’s history to make things extra difficult for our heroine, and setting the work in the 1960s under the despotic rule of Francois Duvalier (aka Papa Doc) certainly raised the stakes.
    [Show full text]
  • The English Concert – Biography
    The English Concert – Biography The English Concert is one of Europe’s leading chamber orchestras specialising in historically informed performance. Created by Trevor Pinnock in 1973, the orchestra appointed Harry Bicket as its Artistic Director in 2007. Bicket is renowned for his work with singers and vocal collaborators, including in recent seasons Lucy Crowe, Elizabeth Watts, Sarah Connolly, Joyce DiDonato, Alice Coote and Iestyn Davies. The English Concert has a wide touring brief and the 2014-15 season will see them appear both across the UK and abroad. Recent highlights include European and US tours with Alice Coote, Joyce DiDonato, David Daniels and Andreas Scholl as well as the orchestra’s first tour to mainland China. Harry Bicket directed The English Concert and Choir in Bach’s Mass in B Minor at the 2012 Leipzig Bachfest and later that year at the BBC proms, a performance that was televised for BBC4. Following the success of Handel’s Radamisto in New York 2013, Carnegie Hall has commissioned one Handel opera each season from The English Concert. Theodora followed in early 2014, which toured West Coast of the USA as well as the Théâtre des Champs Elysées Paris and the Barbican London followed by a critically acclaimed tour of Alcina in October 2014. Future seasons will see performances of Handel’s Hercules and Orlando. The English Concert’s discography includes more than 100 recordings with Trevor Pinnock for Deutsche Grammophon Archiv, and a series of critically acclaimed CDs for Harmonia Mundi with violinist Andrew Manze. Recordings with Harry Bicket have been widely praised, including Lucy Crowe’s debut solo recital, Il caro Sassone.
    [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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Haendel Rodelinda Opéra Je 4 Octobre 19H30 • Sa 6 Octobre 18H • Ma 9 Octobre 19H30 Je 11 Octobre 19H30 • Di 14 Octobre 16H
    Haendel Rodelinda opéra je 4 octobre 19h30 • sa 6 octobre 18h • ma 9 octobre 19h30 je 11 octobre 19h30 • di 14 octobre 16h PROG_RODELINDA_140190.indd 1 24/09/2018 17:43 Rodelinda, répétitions à l’Opéra de Lille, septembre 2018 ©Simon Gosselin opéra chanté en italien, surtitré en français +/- 3h15 entracte compris Haendel Rodelinda regina de’Longobardi - reine des Lombards Opéra en trois actes (1725) Livret Nicola Francesco Haym Direction musicale Emmanuelle Haïm Mise en scène Jean Bellorini PROG_RODELINDA_140190.indd 2-3 24/09/2018 17:43 ••• Rodelinda regina de’Longobardi - reine des Lombards Opéra en trois actes de Georg Friedrich Haendel (1685-1759) Livret Nicola Francesco Haym d’après Antonio Salvi et Pierre Corneille Direction musicale Emmanuelle Haïm Mise en scène, scénographie, lumières Jean Bellorini Collaborateur à la mise en scène Mathieu Coblentz Décors Jean Bellorini, Véronique Chazal Costumes Macha Makeïeff Assistant Lumières Luc Muscillo Assistants à la direction musicale, chefs de chant Benoît Hartoin, Elisabeth Geiger Création maquillage/coiffure Cécile Kretschmar Coach d’Italien Marco Canepa Avec Rodelinda Jeanine De Bique Bertarido Tim Mead Grimoaldo Benjamin Hulett Eduige Avery Amereau Unulfo Jakub Józef Orliński Garibaldo Andrea Mastroni Flavio (l’enfant) Animata Diouaré (4, 9 et 11 oct.), Souleymane Sarr (6 et 14 oct.) Orchestre Le Concert d’Astrée Nouvelle production de l’Opéra de Lille Coproduction Théâtre de Caen Teatro Municipal de Santiago - Opéra National du Chili Édition musicale Hallische Händel-Ausgabe © Bärenreiter Verlag Kassel · Basel · London · New York · Prag Aux côtés de l’Opéra de Lille depuis son ouverture en 2004, le CIC Nord Ouest, Grand Mécène de l’Opéra de Lille, apporte un soutien spécifique aux productions lyriques.
    [Show full text]
  • September 2016 – July 2017
    SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music.
    [Show full text]
  • Handel's Orlando
    INDEPENDENT OPERA presents Handel’s Orlando Saturday 21 June 2008, 7pm Wigmore Hall Welcome Messages from Independent Opera It gives me great pleasure to welcome Independent Opera to INDEPENDENT OPERA at Sadler’s Wells was created in 2005 Wigmore Hall. I salute this valuable young organisation and all to provide a London performance platform for talented young it has achieved over such a short timescale. directors, designers, singers and others involved in the staging and performance of opera. We are delighted to partner with Independent Opera for the Wigmore Hall / Independent Opera Voice Fellowship and Building on the success of our first two productions, I applaud the pioneering work of Independent Opera’s INDEPENDENT OPERA Artist Support was launched in 2007. extensive fellowship programme as well as its commitment to This is a comprehensive programme of fellowships and a wide range of repertoire. scholarships designed to help promising young artists in the period immediately after their formal education ends. It funds I hope that you enjoy tonight’s performance of Orlando. singing lessons, coaching sessions and other activities that will help them make their way professionally. Our partnership with Wigmore Hall is particularly rewarding and provides a fellowship for a singer intent on pursuing a career in both opera and song. We welcome enquiries from individuals interested in sponsoring a fellowship. More information about Artist Support can be found at the back of this programme. John Gilhooly Director We hope you enjoy this evening’s performance of musical Wigmore Hall extracts from our 2006 production of Orlando. Anna Gustafson Director of Operations & Chief Executive, Artist Support INDEPENDENT OPERA at Sadler’s Wells Honorary Patrons It is with great pleasure that we present this performance DENT O EN PE Laurence Cummings EP R of Orlando at Wigmore Hall tonight.
    [Show full text]
  • Adaptation of Handel's Castrato Airs for Bass: a Lecture Recital, Together with Three Recitals of Selected Works of J
    57? NS/d Ho, ADAPTATION OF HANDEL'S CASTRATO AIRS FOR BASS: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J. S. BACH, W. MOZART, M. RAVEL, G. FINZI, R. SCHUMANN, A. CALDARA, G. HANDEL, H. WOLF, H. DUPARC, C. IVES AND S. BARBER AND AN OPERATIC ROLE BY VERDI DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Terry L. Fern, B. M., M. M. Denton, Texas May, 1986 Fern, Terry Lee, Adaptation of Handel's Castrato Airs for Bass, A Lecture Recital Together With Three Recitals of Selected Works of J. S. Bach, W. Mozart, M. Ravel, G. Finzi, R. Schumann, A. Caldara, G. Handel, H. Wolf, H. Duparc, C- Ives and S. Barber and an Operatic Role by Verdi. Doctor of Musical Arts (Vocal Performance), May, 1986, 31 pp., 5 illustrations, bibliography, 52 titles. The lecture recital was given on April 18, 1977. The subject was Adaptation of Handel's Castrato Airs for Bass, and it included a discussion of conventions peculiar to Handelian opera seria, concerns regarding adaptation of Handel's castrato airs and a comparison of adaptation practices in eighteenth- and twentieth-century presentations of Handel's operas. Three coloratura castrato airs and two virtuoso bass airs were performed at the conclusion of the lecture. In addition to the lecture recital, one operatic role and three recitals of solo literature for voice, piano and chamber ensemble were publicly performed. These included the role of "Samuele" in A Masked Ball, by Verdi, performed in English on March 19, 1975 with the Opera Theatre of North Texas State University, a program presented on November 24, 1975,of solo literature for voice, piano, and chamber ensemble, including works by J.
    [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]
  • Partenope Maestro Biography
    Partenope Maestro Biography Making his San Francisco Opera debut this summer in Handel’s Orlando, Christopher Moulds returns in Summer 2020 for Partenope. In demand at opera houses throughout Europe, his current season includes Ariodante at Oper Stuttgart, Purcell’s King Arthur at Theatre Basel, and Die Entführung aus dem Serail with Semperoper Dresden. Last season saw his debut at Den Norske Opera in Norway with Don Giovanni. Enjoying strong links with both the Staatsoper Berlin and Munich’s Bavarian State Opera, he conducts repertoire ranging from Monteverdi, Handel, and Mozart through to Britten’s Turn of the Screw and contemporary works such as Birtwistle’s Punch and Judy. Moulds is often seen leading the Baroque opera repertoire. In 2015 he led Monteverdi’s L’Orfeo, a co- production between the Royal Opera, Covent Garden and the Roundhouse which received much critical acclaim. Other recent performances include Semele at the Händel-Festspiele Karlsruhe, La Calisto at Bavarian State Opera and this season he returns to Madrid for Dido & Aeneas. He has appeared in Russia numerous times at Bolshoi Theatre including for the premiere of Rodelinda. On the concert stage, he has conducted orchestras including Akademie für Alte Musik Berlin, Concerto Köln, the London Philharmonic Orchestra, Mozarteumorchester Salzburg, the Royal Liverpool Philharmonic Orchestra, and the Vienna Symphony Orchestra. Festival appearances include the Bregenz Festival, Händel-Festspiele Halle, and performances of La Clemenza di Tito with the Vienna Philharmonic at the Salzburg Festival. Moulds began his career in 1991 as a member of the music staff at English National Opera. From 1994–98 he was chorus master at Glyndebourne, after which he began his international career.
    [Show full text]