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Swedish Debut at Royal Opera Stockholm with Handel's „Xerxes“
Press release Greek conductor George Petrou – Swedish debut at Royal Opera Stockholm with Handel’s „Xerxes“: 6. February 2015 Greek conductor George Petrou will be making his Swedish debut at the Royal Opera in Stockholm: On 6. February 2015 he will be conducting the revival of “Xerxes” by Georg Friedrich Handel. Katija Dragojevic will be heard in the titel role; other main characters will be represented by Susanna Stern (Romilda), Vivianne Holmberg (Atalante), Johanna Rudström (Arsamenes), Katarina Leoson (Amastris), John Erik Eleby (Ariodates) and Jens Persson (Elviro). The production was directed by Daniel Slater, stage design, costumes and mask by Robert Innes Hopkins. Further performances: 11., 14., 17., 24., 27. February and 3. March. George Petrou has been established as one of the world's leading Handel specialists. Many of his Handel-opera-recordings received important classical music awards like the French Diapason d’Or and Choc du monde de la musique as well as the German ECHO Klassik. For George Petrou “Xerxes” in Stockholm is also a premiere even though he has already conducted selected arias of the opera in the past: “Serse was a turning point in Handel's operatic output. It looked ahead into the future, breaking a great deal of the Opera seria conventions. Apparently it quite shocked the public with its novelty of structure and style, and it wasn't understood. However, it remains one of Handel's top creations.” “Xerxes” is one of the most frequently played operas by Handel. The plot unfolds as a comic rollercoaster of love, jealousy and secret desires in which nothing is quite as it seems. -
Siroe Fondazione Teatro La Fenice Di Venezia
GEORG FRIEDRICH HÄNDEL SIROE FONDAZIONE TEATRO LA FENICE DI VENEZIA SIROE Georg Friedrich Händel in un ritratto di Thomas Hudson. (Londra, National Portrait Gallery). 2 FONDAZIONE TEATRO LA FENICE DI VENEZIA SIROE musica di GEORG FRIEDRICH HÄNDEL VENEZIA - SCUOLA GRANDE S. GIOVANNI EVANG E LI STA Giovedì 28 dicembre 2000, ore 20.00 Sabato 30 dicembre 2000, ore 15.30 Martedì 2 gennaio 2001, ore 20.00 Giovedì 4 gennaio 2001, ore 20.00 3 —————— Edizioni dell’Ufficio Stampa del TEATRO LA FENICE Responsabile Cristiano Chiarot Hanno collaborato Pierangelo Conte, Giorgio Tommasi Ricerca iconografica Maria Teresa Muraro Copertina Tapiro Pubblicità AP srl Torino 4 SOMMARIO 7 LA LOCANDINA 11 I LIBRETTI 90 SIROE IN BREVE 92 ARGOMENTO - ARGUMENT - SYNOPSIS - HANDLUNG - 97 LORENZO BIANCONI L’“INTOLLERANTE” SIROE DA VENEZIA A HAYMARKET 102 HÄNDEL E METASTASIO 103 JORGE LAVELLI SIROE, RE DI PERSIA ALLA SCUOLA GRANDE S. GIOVANNI EVANGELISTA 104 GIORGIO GUALERZI UNA CITTÀ HÄNDELIANA 112 BIOGRAFIE 5 Lauro Crisman, modellino per Siroe. Venezia, Scuola Grande S. Giovanni Evangelista, dicembre 2000. 6 LA LOCANDINA SIROE musica di GEORG FRIEDRICH HÄNDEL libretto di NICOLA FRANCESCO HAYM da PIETRO METASTASIO prima rappresentazione in Italia personaggi ed interpreti Cosroe LORENZO REGAZZO Siroe VALENTINA KUTZAROVA Medarse ROBERTO BALCONI Emira PATR IZIA CIOFI Laodice JAHO ERMONELA Arasse DARIO GIORGELÉ maestro concertatore e direttore ANDREA MARCON regia JORGE LAVELLI scene LAURO CRISMAN costumi FRANCESCO ZITO assistente regia CARLO BELLAMIO effetti sonori JEAN MARIE BOURDAT light designer FABIO BARETTIN VENICE BAROQUE ORCHESTRA nuovo allestimento in coproduzione con APOLLONESQUE e in collaborazione con il Comitato Nazionale per le celebrazioni del Terzo Centenario della nascita di Pietro Metastasio Si ringraziano l’Università di Birmingham – Centre of Early Music Performance and Research e la Dott.ssa Mary O’Neill per aver gentilmente fornito copia dei manoscritti originali del Siroe. -
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. -
Operatic Reform in Turin
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter tece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, If unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI OPERATIC REFORM IN TURIN: ASPECTS OF PRODUCTION AND STYLISTIC CHANGE INTHEI760S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Margaret Ruth Butler, MA. -
Gluck's London Operas
GLUCK'S LONDON OPERAS By WILLIAM BARCLAY SQUIRE Downloaded from ITH the conspicuous exception of Horace Walpole's letters, we are singularly deficient in social chronicles W of the later years of the reign of George II. For con- temporary accounts of the invasion of England by Prince Charles Edward in 1745, of his surprising inarch to Derby and the http://mq.oxfordjournals.org/ consternation it created in London—when the news arrived on a day long remembered as 'Black Friday*—Walpole's letters, which are our chief authority, have to be supplemented by reference to the newspapers of the day. Although London in 1745 did not, as at the present day, suffer from the plethora of papers—each anxious to go one better than the others in purveying 'news' of doubtful authenticity—enough can be gathered from the collection made by Dr. Burney and now preserved in the British Museum to show that at University of California, Santa Barbara on June 27, 2015 the alarm in the South of England was very real. Stories of spies and of poisoned wells were rife then, just as they have been in our own time, but the chief scare raised successfully by the Hanoverians was that the return of the House of Stuart would mean the spread, if not actually the establishment, of the Roman Catholic religion. It seems impossible to realize that London should have believed that the English Catholics, after a century and a hah* of cruel suppression, were sufficiently numerous or powerful to be a real source of danger, but the metropolis—as in the time of the Civil War—was the head- quarters of the bitterest form of Puritanism, and though it may not have been specially devoted to the House of Hanover, nor remarkably zealous in attending the churches of the Establishment, at least it was unfaltering and sincere in its hatred of Papacy. -
Music Migration in the Early Modern Age
Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania. -
Tailor-Made: Does This Song Look Good on Me? the Voices That Inspired Vocal Music History
ABSTRACT Title of Dissertation: TAILOR-MADE: DOES THIS SONG LOOK GOOD ON ME? THE VOICES THAT INSPIRED VOCAL MUSIC HISTORY Theresa Rose Bickham, Doctor of Musical Arts in Vocal Performance, 2019 Dissertation directed by: Professor Carmen Balthrop, School of Music The history of tailor-made repertoire is celebrated, and, in many cases, the composer and the works live on in perpetuity while the performing artist is remembered only in historical documents. Timbres, agilities, ranges, and personalities of singers have long been a source of inspiration for composers. Even Mozart famously remarked that he wrote arias to fit singers like a well-tailored suit. This dissertation studies the vocal and dramatic profiles of ten sopranos and discovers how their respective talents compelled famed composers to create music that accommodated each singer’s unique abilities. The resulting repertoire advanced the standard of vocal music and encouraged new developments in the genres and styles of compositions for the voice. This is a performance dissertation and each singer is depicted through the presentation of repertoire originally created for and by them. The recital series consisted of one lecture recital and two full recitals performed at the University of Maryland, College Park. I was joined in the performance of these recitals by pianist Andrew Jonathan Welch, clarinetist Melissa Morales, and composer/pianist Dr. Elaine Ross. The series was presented chronologically, and the first recital included works of the Baroque and Classical music eras written for Marie Le Rochois, Faustina Bordoni, Catarina Cavalieri, and Adriana Ferrarese del Bene. The second recital advanced into the nineteenth-century with repertoire composed for Anna Milder-Hauptmann, Giulia Grisi, and Mary Garden. -
The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(S): Roger Freitas Freitas Source: the Journal of Musicology, Vol
The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(s): Roger Freitas Freitas Source: The Journal of Musicology, Vol. 20, No. 2 (Spring 2003), pp. 196-249 Published by: University of California Press Stable URL: https://www.jstor.org/stable/10.1525/jm.2003.20.2.196 Accessed: 03-10-2018 15:00 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology This content downloaded from 146.57.3.25 on Wed, 03 Oct 2018 15:00:19 UTC All use subject to https://about.jstor.org/terms The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato ROGER FREITAS A nyone who has taught a survey of baroque music knows the special challenge of explaining the castrato singer. A presentation on the finer points of Monteverdi’s or Handel’s art can rapidly narrow to an explanation of the castrato tradition, a justification 196 for substituting women or countertenors, and a general plea for the dramatic viability of baroque opera. As much as one tries to rationalize the historical practice, a treble Nero or Julius Caesar can still derail ap- preciation of the music drama. -
A Scintillating Siroe Göttingen Handel Festival 2013
12 Opera con Brio, LLC May 2013 Opera con Brio Richard B. Beams A Scintillating Siroe Göttingen Handel Festival 2013 Handel’s Siroe, Re di Persia of 1728 is a problematic work, at focus on the sopranos’ archetypal rivalry for the affections of least at first appearance. A product of the waning years of his the castrato superstar of the day, Senesino. As distinguished productive First Academy period, it was one of five operas Handel Scholar Winton Dean comments, “we are faced with tailored for the famous “Rival Queens,” Francesca Cuzzoni and Handel at the height of his powers struggling with a Faustina Bordoni. Handel used the verbose libretto of the recalcitrant libretto and an ungainly bunch of characters. They young Pietro Metastasio, with its convoluted plot, ill suited it spend so much time deceiving each other or being deceived, or would seem to Handel’s inclination to move the drama forward both, that none emerges in a strong positive light.” rather than to linger over many simile arias and the like, or to 43 Opera con Brio, LLC May 2013 Yet the 2013 Göttingen Handel Festival turned this rarely arias save one, “Se l’amor tuo mi rendi,” a short buoyant piece performed, relatively obscure opera into a stunning success. near the end as Siroe forgives his conniving brother Medarse.) Indeed it was a highpoint of my fifteen some years attending With the recitatives so reduced, claims Winton Dean, “the plot this Festival, and I would be willing to bet, a highlight as well with its political scheming, long-stored vengeance, amorous of the Festival’s seventy-year history. -
Venice Baroque Orchestra with Philippe Jaroussky
CAL PERFORMANCES PRESENTS Friday, February 7, 2014, 8pm First Congregational Church Venice Baroque Orchestra with Philippe Jaroussky, countertenor PROGRAM A Legendary Battle: Farinelli & Porpora vs. Carestini & Handel Nicola Porpora (1686–1768) Overture to Germanico in Germania (1731–1732) Porpora “Mira in cielo,” from Arianna e Teseo (1727 ) “Si pietoso il tuo labbro ragiona,” from Semiramide Riconosciuta ( 1729 ) George Frideric Handel ( 1685–1759 ) Concerto Grosso in A minor, Op. 6, No. 4 ( 1739 ) Larghetto affettuoso Allegro Largo e piano Allegro Handel “Mi lusinga il dolce affetto,” from Alcina ( 1735 ) “Sta nell’Ircana pietrosa tana,” from Alcina INTERMISSION PLAYBILL CAL PERFORMANCES PRESENTS Handel “Agitato da fiere tempeste,” from Oreste ( 1734 ) “Scherza infida,” from Ariodante ( 1734 – 1735 ) Handel Concerto Grosso in G major, Op. 6, No. 1 ( 1739 ) A tempo giusto Allegro Adagio Allegro Allegro Porpora “Alto Giove,” from Polifemo ( 1735 ) “Nell’ attendere il mio bene,” from Polifemo This performance is made possible, in part, by Patron Sponsor Françoise Stone. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES PROGRAM NOTES PERA IN THE OLD DAYS could be a cutthroat supported by a corporation of aristocrats Obusiness. Opera was invented as a private headed by King George II and Queen entertainment for an aristocratic audience Charlotte, for whom he had produced some of around 1600 in Florence to recreate the then- his greatest masterpieces— Julius Caesar , supposed experience of ancient Greek theater. Tamerlano , Rodelinda —at the King’s Theatre in It spread quickly to other courts and noble the Haymarket, which he leased from its owner, houses in Italy during the following years, and John Heidegger. -
Press Siroe CD Johann Adolf Hasse (1699-1783)
Press Siroe CD MUSEBAROQUE.FR, 03_11_2014 http://www.musebaroque.fr/hasse-siroe-cencic-decca/ Un chef-d’œuvre en devenir (Hasse, Siroe, Re di Persia, Armonia Atenea, Petrou – Decca) Publié dans : CD / DVD - Critiques - Opéra 3 novembre, 2014 Johann Adolf Hasse (1699-1783) Siroe, Re di Persia Opera seria en 3 actes Max Emanuel Cencic, Siroe Julia Lezhneva, Laodice Mary Ellen Nesi, Emira Lauren Snouffer, Arasse Juan Sancho, Cosroe Franco Fagioli, Medarse Orchestre Armonia Atenea George Petrou, direction 1 Coffret-livret 2 CD, 2h46’25, DECCA, 2014 Après le succès de la tournée « Rokoko » aboutie par l’enregistrement du même nom, Max Emanuel Cencic se tourne à nouveau vers le maître incontesté de l’opera seria Johann Adolf Hasse (1699-1783), le Cher Saxon. Ce compositeur plus que prolifique, puisqu’il n’écrit pas moins de 56 opéras interprétés par les plus grands chanteurs de l’époque, de Farinelli à Faustina Bordoni, qu’il épousa. Ce présent coffret est consacré à l’opéra Siroe, Re di Persia, créé en 1733 à Bologne. L’opéra n’a jamais été rejoué depuis le XVIIIe siècle. Il est, entre autre, repris à l’Opéra Royal de Versailles les 26,28 et 30 novembre 2014 et fera l’objet d’une captation télévisée lors de ces dates. Hasse applique la recette d’un excellent opera seria. L’histoire de Siroe est un subtil mélange d’ingrédients : contexte historique, d’intrigues amoureuses, passion, jalousie et surtout de conspiration. Le Roi des Perses Cosroé (Chosroès III) décide ne pas donner sa succession à son fils aîné Siroe mais à son fils cadet Medarse. -
Händel Complete Opera
Wagner-Festspielhaus Bayreuth Royal Opera house London Georg Friedrich Händel (1685-1759) Complete Opera Index – Operas by Georg Friederich Händel 1. Almira – HWV 01 22. Lotario – HWV 26 2. Agrippina – HWV 06 23. Partenope – HWV 27 3. Rinaldo – HWV 07 24. Poro, Rè dell'Indie – HWV 28 4. Il Pastor fido – HWV 08c 25. Ezio – HWV 29 5. Teseo – HWV 09 26. Sosarme, Re di Media – HWV 30 6. Lucio Cornelio Silla – HWV 10 27. Orlando – HWV 31 7. Amadigi di Gaula – HWV 11 28. Arianna in Creta – HWV 32 8. Radamisto – HWV 12 29. Ariodante – HWV 33 9. Muzio – HWV 13 30. Alcina – HWV 34 10. Il Floridante – HWV 14 31. Atalanta – HWV 35 11. Ottone, Re di Germania – HWV 15 32. Arminio – HWV 36 12. Flavio, Re de Langobardi – HWV 16 33. Giustino – HWV 37 13. Giulio Cesare in Egitto – HWV 17 34. Berenice, Regina d'Egitto – HWV 38 14. Tamerlano – HWV 18 35. Faramondo – HWV 39 15. Rodelinda, Regina de' Langobardi – HWV 19 36. Serse – HWV 40 16. Scipione – HWV 20 37. Imeneo – HWV 41 17. Alessandro – HWV 21 38 . Deidamia – HWV 42 18. Admeto, Re di Tessaglia – HWV 22 39. The Alchymist – HWV 43 19. Riccardo Primo, Re d'Inghilterra – HWV 23 40. Comus – HWV 44 20. Siroe, Re di Persia – HWV 24 41. Aceste – HWV 45 21. Tolomeo, Re di Egitto – HWV 25 42. Oreste – HWV A11 Almira, Queen of Castile – HWV 1 or: Change of luck gained with a crown Opera in 3 Acts (Early Barock opera) Original language: german, italian Duration ca. 3 ½ hours World premiere: 8.01.1705 (Theater am Gänsemarkt, Hamburg) Libretto by Rufinus Widl: Friedrich Christian Feustking after Giulio Pancieris