sign in sign up
<<
Home , Alessandro Scarlatti, Andrea Marcon, Ariodante, Arsenal de Metz, Caffarelli (castrato), Diego Fasolis

CAL PERFORMANCES PRESENTS

Friday, February 7, 2014, 8pm First Congregational Church

Venice

with ,

PROGRAM

A Legendary Battle: & Porpora vs. Carestini & Handel

Nicola Porpora (1686–1768) to Germanico in Germania (1731–1732)

Porpora “Mira in cielo,” from Arianna e (1727 ) “Si pietoso il tuo labbro ragiona,” from Riconosciuta ( 1729 )

George Frideric Handel ( 1685–1759 ) Grosso in A minor, Op. 6, No. 4 ( 1739 ) Larghetto affettuoso Allegro Largo e piano Allegro

Handel “Mi lusinga il dolce affetto,” from ( 1735 ) “Sta nell’Ircana pietrosa tana,” from Alcina

INTERMISSION

PLAYBILL CAL PERFORMANCES PRESENTS

Handel “Agitato da fiere tempeste,” from ( 1734 ) “Scherza infida,” from ( 1734 – 1735 )

Handel in G major, Op. 6, No. 1 ( 1739 ) A tempo giusto Allegro Adagio Allegro Allegro

Porpora “Alto Giove,” from ( 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. was invented as a private headed by King George II and Queen for an aristocratic audience Charlotte, for whom he had produced some of around 1600 in to recreate the then- his greatest masterpieces— , supposed experience of ancient Greek theater. , —at the King’s Theatre in It spread quickly to other courts and noble the Haymarket, which he leased from its owner, houses in during the following years, and John Heidegger. Such was the popularity of in 1637 it became a public commodity with the in during those years that opening of the Teatro di San Cassiano in in 1733 , a rival company, the Opera of the . Ten other opera houses opened in Nobility, was established. This upstart operation Venice before the end of the 17th century, all (founded in a fit of youthful pique by Frederick, trying to turn a profit with increasingly spec - the Prince of Wales, to defy his royal parents) tacular productions of a remarkable stream of outbid Handel for the use of Heidegger’s theater, new works, well over 350 of them in Venice and the Academy moved to ’s new alone by ambitious and librettists Theatre Royal in , where competing for attention and income. Handel’s would alternate with the Opera flourished across Italy during the owner’s plays (and still continue to receive pa - late 17th century, but nowhere more brilliantly tronage from the King and Queen). than in after Scarlatti set - The hired the illus - tled there in 1683 to become director of the trious Neapolitan as its house Teatro San Bartolomeo. Scarlatti composed and the five operas he wrote in some 40 operas in Naples, and their lyricism, London provided Handel with serious compe - theatricality, and cogent form, largely based on tition not only for their musical and theatrical a succession of “da capo” (literally “the qualities but also for their casting, which cli - head,” indicating a return, customarily deco - maxed when the great (and student of rated by the singer, of the opening section fol - Porpora) Farinelli made his début in the city lowing a contrasting central episode: A–B–Aʹ), in Polifemo in February 1735 . “Farinelli was a spread their popularity to centers revelation to me,” confessed , the throughout . The stars of these shows opera’s librettist, “for I realized that till I had were the “castrati,” male singers who were cas - heard him I had only heard a small part of trated before puberty and whose voice retained what human song can achieve where I now the high range and purity of a boy but conceive that I have heard all there is to hear.” who brought to it the strength, training, virtu - Handel countered with , osity, and musical maturity of an adult male. who appeared in five of his operas during that The practice for musical purposes, largely con - time, including Alcina and Ariodante . fined to Italy, originated in the mid–15th cen - According to the celebrated German opera tury to supply high voices for church , in composer Johann Adolf Hasse, “He who has which females were forbidden to participate, not heard Carestini is not acquainted with the but the castrati found their most lucrative per - most perfect style of singing.” formance opportunities in the burgeoning The fashion in London for opera in a lan - medium of opera 100 years later. guage few locals could understand had been Opera producers competed ferociously for waning ever since the riotous success of the the se rvices of the leading castrati, and one of satirical Beggar’s Opera that Gay and Pepusch the most entertaining such episodes in the his - had unveiled in 1728 , and the Handel– tory of opera unfolded in London between 1733 Porpora rivalry ended in, at best, a draw— and 1736. Since 1719, , Porpora fled back to the Continent in 1736 , German-born, Italian-trained, and the leading both companies collapsed the following year, opera composer in London since the première and Handel was completely out of business as of his in 1711 , had been successfully an opera composer by 1740 . Handel did well running the , largely in his second career, however, during which

PLAYBILL PROGRAM NOTES he created , , Judas and worked as composer and teacher in promi - Maccabeus, and the two dozen other English- nent positions in Venice, , , and language that have made him a con - (where the young Haydn was tinuing musical force from his day to ours. his pupil, valet, and accompanist), until finan - cial reverses resulting from the Seven Years’ Nicola Porpora ( AFHF–AGFH ) War and the evolution of musical taste away Overture to Germanico in Germania from his dated Baroque idiom led him to re - turn home to Naples in 1759 . He taught again Composed in 1731–1732 . Premi èred in February at the Conservatorio di San Maria di Loreto 1732 at the in Rome. and the Conservatorio di San Onofrio, and filled a commission from the Teatro San Carlo Nicola Porpora has today been largely relegated (Il Trionfo de Camilla ), but the opera was a fail - to the fringes of operatic history, but in his day ure and he resigned his teaching posts in 1761 . he was considered a worthy rival of George His last years were spent in poverty. “Porpora Frideric Handel , the early–18th-century’s most kept so miserable a table,” reported his student celebrated composer. Porpora was born into Domenico Corri, “that he was frequently the family of a Neapolitan bookseller in 1686, driven out of the house by hunger to seek a din - studied on scholarship for a decade at the city’s ner elsewhere.” The musicians of Naples Conservatorio dei Poveri di Gesù Cristo , and arranged and performed gratis at his funeral débuted as an opera composer with following his death on March 3, 1768 . at the Royal Palace in Naples in 1708 . The pre - Germanico in Germania (“Germanicus in mière of his Anicio Olibrio three years ”), prem ièred at the Teatro Capranica later led to appointments as maestro di cappella in Rome in February 1732, concerns the ex - to Prince Philipp of Hesse-Darmstadt, the gen - ploits of the Roman general Nero Claudius eral of the Austrian army in Naples, and to the Drusus, who received the title Germanicus for faculties of the Conservatorio di San Onofrio his and his father’s military victories north of and Conservatorio di San Maria di Loreto, the Alps. The overture follows the typical form where he established his reputation as one of for 18th-century Itali an operas: a vigorous the era’s foremost teachers of composition and opening Allegro , a slow-tempo passage (this singing. Porpora’s career flourished during the one for horns in the style of a Minuetto ), and a , when he produced operas and serenatas spirited finale for the full ensemble. for public and court performance and helped promote the careers of his most gifted students, Porpora notably the singers Carlo Broschi (who became “Mira in cielo,” from Arianna e Teseo music history’s most famous castrato as Farinelli), Gaetano Majorano (pseudonym: Composed in 1727. Premièred on October 1, ), and Giovanni Carestini. Porpora 1727, at the Teatro San Giovanni Grisostomo expanded his career to Rome in 1721 with in Venic e. Eumene and to Venice four years later ( Siface ), where he joined the faculty of the Ospitale Arianna e Teseo (“Ariadne and ”), degli’Incurabili. In 1733 , he went to London to composed in 1727 for the Teatro San serve as the resident composer for the Opera Giovanni Grisostomo in Venice, concerns the of the Nobility, a company newly established by mythical tale of Ariadne, daughter of King Frederick, the Prince of Wales, to compete with Minos of Crete and keeper of the labyrinth Handel’s Royal Academy of Music. Porpora where the dreaded Minotaur is confined, and took along Farinelli and other of his star pupils her love for the Athenian prince Theseus, and composed five operas, an , and a whom she helps to overcome the monster. serenata, but he could not establish superiority Theseus addresses his bravura Mira in over Handel. After two-and-a-half years in cielo, a Giove impera (“Look up to heaven, he , Porpora returned to the Continent gives orders to Jove”) to Eros, the god of love.

CAL PERFORMANCES PROGRAM NOTES

Porpora Handel wrote the twelve of his “Si pietoso il tuo labbro ragiona,” from Op. 6 with astonishing speed—September 29 to October 30, 1739—most of them appar - ently completed in a single day. These won - Composed in 1729. Premièred on December 26, drous pieces, coming some 20 year s after 1729, at the Teatro San Giovanni Grisostomo Bach’s Brandenburg Concertos , the only other in Venice. orchestral music from the Baroque era of comparable stature, were old-fashioned for Semiramide Riconosciuta (“Semiramis their day. They used the concerto grosso Recognized”), composed for the Carnival sea - form—utilizing a small group of soloists son of 1729 at the Teatro San Giovanni rather than an individual player—that had Grisostomo in Venice, sets a by been developed in Italy during the last half of Metastasio about Queen Semiramis, who suc - the 17th century and perfected by cessfully ruled Assyria in disguise for over Corelli with his Concerti Grossi, Op. 6, pub - forty years following the death of her husband. lished in Rome in 1714. Hande l’s entourage of The lovely aria Si pietoso il tuo labbro ragiona soloists comprises two and a (“Since you speak so sympathetically”) is sung which compete/collaborate (the term “con - by Merteo, brother of Semiramis (a role cre - certo” means both simultaneously) with a ated by Farinelli), of his hope to be chosen string orchestra bolstered by . The from among three suitors of the Bactrian movements, four to six in number, generally princess Tamiri as her husband. alternate in tempo between slow and fast, with some imitative writing spicing the quick sec - George Frideric Handel ( AFHE–AGEI ) tions. Handel’s strength, however, was melody, Concerto Grosso in A minor, O p. F, No. D and these Concertos are less densely packed with complex than are the Composed in 1739. Brandenburgs . In expression, though, they are in no way inferior to Bach’s masterpieces Between 1738 and 1740, when Handel was be - because of Handel’s unfailing thematic inven - ginning to commit his attention fully to ora - tion, sense of tonal balance, harmonic inge - torio, he produced a series of splendid nuity, and invigorating rhythms. Of the Op. 6 concertos that could be used either as inter - Concerti Grossi, Percy M. Young wrote, “In mission features or for independent perform - these works it is tempting to see the peaks of ance. The Organ Concertos, Op. 4 (1738) and Handel’s creative genius. Elsewhere the flame Op. 7 (1740), were intended specifically for his of inspiration may leap momentarily higher, own performance between the parts of his or - but nowhere else has the consistency of imag - atorios. The Concerti Grossi, Op. 6, of inative thought so triumphal a progress.” September–October 1739 could serve a simi - The Concerto No. 4 in A minor opens lar function (they did so during Handel’s ora - with a Larghetto based on a motive carved torio series later that season) or they could be from the sighing, melodic falls that had con - played by anyone who acquired the music. noted great sadness in music since the age of Handel, in fact, made the Op. 6 Concerti the Renaissance. The Allegro is a stern and Grossi available for general purchase by sub - sturdy that allows considerable inter - scription, the only of his instrumental com - play between the solo violins and cello and the positions to be so published. The works larger ensemble. The third movement, built became popular so quickly that Walsh, above a gently swaying line in constant Handel’s publisher, reported the following motion, is reminiscent of a touching operatic April, “[They] are now played in most public . A quick-moving but rather solemn places with the greatest applause.” Allegro closes the Concerto.

PLAYBILL PROGRAM NOTES

Handel [“Richard I, King of England”] of 1727 ). Thoas “Mi lusinga il dolce affetto” and “Sta nell’ is eventually overthrown, brother and sister are Ircana pietrosa tana,” from Alcina reconciled, and peace is restored to .

Composed in 1735. Premièred on April 16, Handel 1735, in London. “Scherza infida,” from Ariodante

The sorceress Alcina has detained the knight Composed in 1734–1735. Premièred on on her enchanted island to attempt February 8, 1735, at Covent Garden in London. bewitching him into becoming the next of her countless lovers, whom she turns into streams, Ariodante opens with Ginevra, Princess of rocks, trees, and beasts when finished with Scotland, telling Dalinda, her lady-in-waiting, them. However, , Ruggiero’s fi - of her love for Prince Ariodante, whom the ancée, appears with her tutor, Melisso, who King intends to make his successor. Polinesso, breaks Alcina’s spell. Ruggiero sings the lilting the Duke of Albany, bursts in and makes aria Mi lusinga il dolce affetto (“Sweet passion amorous advances to Ginevra for the surrep - tempts me”) when he again recognizes his titious purpose of gaining the throne for him - love for Bradamante. In the virtuosic Act III self. Ariodante sings the aria Scherza infida in aria Sta nell’Ircana pietrosa tana (“In her stony Act II after he has witnessed what he believes Caspian lair”), Ruggiero plans their escape to be the faithlessness of Ginevra. from Alcina’s island. Handel Handel Concerto Grosso in G major, Op. F, No. A “Agitato da fiere tempeste,” from Oreste Composed in 1739. Composed in 1734. Premièred on December 18, 1734, at Coven t Garden in London. Handel’s Concerto No. 1 in G major opens with a majestic processional that is, by turns, Oreste , created for the Covent Garden season pompous and tender. It leads to a jolly Allegro of 1734, is one of three operas that full of bounding, high spirits. The third move - Handel assemb led from repurposed numbers ment, in slow tempo, brings a touching pathos from his earlier operas and . The story at the central point of this Concerto that bal - tells of , daughter of and ances the exuberance of the outer sections. A Klytemnestra, who narrowly escaped being fugal movement and a whirling dance in 6/8 sacrificed in order to gain a favorable wind for meter bring this robust work to a close. the Greek invasion of Troy and made her way to Tauris, where she becomes a priestess of the Porpora Scythians. Ignorant of the events at her home in “Alto Giove” and “Nell’ attendere il mio Greece, she is frightened by visions of her fa - bene,” from Polifemo ther being murdered by Klytemnestra, who is, in turn, killed by her own son. The bloodthirsty Composed in 1735. Premièred on February 1, Scythian King, Thoas, too, is fearful, having re - 1735, at King’s Theatre in the Haymarket, ceived omens that his life is in danger, and he London. orders Iphigenia to sacrifice any stranger who arrives in his lands. One such is —the Porpora opened his second London season unrecognized brother of Iphigenia and the with Polifemo (“”), which was pre - murderer of Klytemnestra—who sings of his mièred at the King’s Theatre on F ebruary 1, difficult journey in the aria Agitato da fiere tem - 1735, and highlighted by Farinelli’s début in peste (“Shaken by ferocious storms,” originally the city. The opera was based on the ancient composed for Riccardo I, Re d’Inghilterra tale of the one-eyed giant who imprisoned

CAL PERFORMANCES PROGRAM NOTES

Odysseus and his men on their journey home two arias from Polifemo on this concert attest from the Trojan War and devoured them one to the range of Farinelli’s vocal gifts—in Alto at a time until he was blinded by the survivors Giove , Acis sings movingly of his gratitude to when he was drunk. The myth also tells how “Mighty Jove” and of his longing for his beloved; the sea-nymph Galatea, who is lusted after by the heroic Nell’ attendere il mio bene (“While I Polyphemus, loves the shepherd Acis (por - await my beloved”) expresses his anticipation at trayed by Farinelli), and how he is killed by the thought of being reunited with Galatea. the giant out of jealousy but restored to life in the form of an eternal river by Galatea. The © 2014 Dr. Richard E. Rodda

PLAYBILL ORCHESTRA ROSTER

VENICE

FIRST Gianpiero Zanocco Mauro Spinazzè Giacomo Catana Anna Fusek

SECOND VIOLIN Giorgio Baldan Francesco Lovato Mazzacan Giuseppe Cabrio

VIOLA Alessandra Di Vincenzo Meri Skejic

VIOLONCELLO Daniele Bovo Giordano Pegoraro

VIOLONE Alessandro Pivelli

LUTE Ivano Zanenghi

OBOE Shai Kribus Michele Favaro

BASSOON Gabriele Gombi

HORNS Alessandro Denabian Andrew Hale

HARPSICHORD Lorenzo Feder

CAL PERFORMANCES TEXTS & TRANSLATIONS

Nicola Porpora Mira in cielo Look up to heaven

Mira in cielo, a Giove impera, Look up to heaven, he gives orders to Jove, vedi in mar, comanda all’onde, consider the sea, he commands the waves, turba il cielo, il mar confonde, he shakes the heavens, agitates the sea, Pluto cede, e Stige near Pluto yields and even the black Styx pur paventa il suo poter. fears his power.

È fanciullo, e tutto assale, Although he is a child, he orders everything, cieco impiaga, e tutti atterra; he blindly wounds and brings down everyone; scherza, alletta, e poi fa Guerra he jokes and entices, then makes war colla face, collo strale, with his torch and his arrows, ed è legge il suo voler. and his will imposes his laws.

Porpora Si pietoso il tuo labbro ragiona Since you speak so sympathetically

Si pietoso il tuo labbro ragiona Since you speak so sympathetically, che quest’ alma non teme che finga; my heart fears no deception; s’ abbandona alla dolce lusinga it abandons itself to sweet blandishment e contenti sognando si và. and continues happily dreaming.

Care pene, felici martiri, Dear pains, happy torments, se mostrasse l ingrata Tamiri if only the ungrateful Tamiri would show qualche parte di questa pietà. some part of this pity.

George Frideric Handel Mi lusinga il dolce affetto Sweet passion tempts me

Mi lusinga il dolce affetto Sweet passion tempts me con l’aspetto del mio bene. at the appearance of my beloved. pur chi sa? Temer conviene But who knows? I fear that che m’inganni amando ancor. by loving once more, I deceive myself.

Ma se quella fosse mai But if it ever should come to pass che adorai e l’abbandono, that I adore and yet abandon her, infedele, ingrato io sono, unfaithful, ungrateful am I, son crudele e traditor. I am cruel and a traitor.

Handel Sta nell’Ircana pietrosa tana In her stony Caspian lair

Sta nell’Ircana pietrosa tana In her stony Caspian lair tigre sdegnosa, e incerta pende, the fierce tiger stands, unsure se parte, o attende il cacciator. whether to flee, or await the hunter.

Dal teso strale guardar si vuole; She wants to defend herself from his arrow, ma poi la prole lascia in periglio. but that would leave her offspring in danger. Freme e l’assale desio di sangue, She trembles, and struggles between her taste for blood pietà del figlio; poi vince amor. and her duty to her young; then love prevails.

PLAYBILL TEXTS & TRANSLATIONS

Handel Agitato da fiere tempeste Shaken by ferocious storms

Agitato da fiere tempeste, Shaken by ferocious storms, se il nocchiero rivede sua stella if the sailor sees his star again, tutto lieto e sicuro se n’va. he sails on happy and safe.

Io ancor spero tra l’ire funeste I hope, even amidst deadly wrath, dar la calma a quest’alma rubella, to calm this rebellious heart, che placata, poi lieta sarà. which, appeased, shall then be happy.

Handel Scherza infida Sport, faithless one

Scherza infida in grembo al drudo. Sport, faithless one, in your lover’s embrace. Io tradito a morte in braccio Because of your betrayal I now go forth per tua colpa ora men vo. into the arms of death.

Ma a spezzar l’indegno laccio, But to break this vile bond ombra mesta, e spirto ignudo, I will return to haunt you per tua pena io tornerò. as a gloomy shade, a mere wraith.

Scherza infida… Sport, faithless one…

Porpora Alto Giove Mighty Jove

Alto Giove, è tua grazia, è tuo vanto Mighty Jove, the great gift of immortal life il gran dono di vita immortale that your sovereign command granted me che il tuo cenno sovrano mi fa. is your blessing and your glory.

Ma il rendermi poi quella But to give me già sospirata tanto that beautiful, loving goddess diva amorosa e bella I so sighed for è un dono senza uguale, come la tua beltà. is a gift beyond compare, as is your magnificence.

Porpora Nell’ attendere il mio bene While I await my beloved

Nell’ attendere il mio bene While I await my beloved, mille gioie intorno all’ alma, hope promises sul momento ch’ ella viene, a thousand joys for my soul la speranza porterà. at the moment of her arrival.

Rammentarti sol vogl’io Only remember this: che il mio cor, se torni o parti, that whether you leave or return teco va, bell’ idol mio, my heart goes with you, fair treasure, e con te ritornerà. and comes back with you.

CAL PERFORMANCES ABOUT THE ARTISTS

Founded in 1997 by Baroque scholar and London, Dijon, Brussels, , Athens, and , the Venice ; performances with Mr. Carmignola at Baroque Orchestra (VBO) is recognized as the Enescu, Gstaad, and Dubrovnik festivals; one of the premier ensembles devoted to pe - with recorder player Anna Fusek in the Czech riod-instrument performance. The Orchestra Republic; and in Italy and Russia with mezzo- has received wide critical acclaim for its con - soprano . cert and opera performances throughout In 2010 , the VBO premièred ’s North America, Europe, South America, , The American Four Seasons , Japan, and Korea. with violinist Robert McDuffie in a 28 -city Highlights of the current season include ex - tour of the United States. Additional high - tensive tours of Europe, the United States, and lights that season included a tour of Japan and Asia with countertenor Philippe Jaroussky; Korea with Mr. Carmignola; concerts in concerts with Marie-Nicole Lemieux Europe with soprano , Mr. in and Belgium, performances with Capuçon and Ms. Basso; Vivaldi’s La senna cellist Gautier Capuçon, including at Vienna’s festeggiante at ’s ; Musikverein; and tours with recorder player Pergolesi’s at Théâtre des this winter and violinist Champs-Élysées with soprano Veronica next summer. Cangemi and contralto Sara Mingardo; The past two seasons have included a nine- Monteverdi’s Vespers in ; and a tour of city U.S. tour of the Orchestra’s Baroque con - festivals in Austria, Germany, and Switzerland certos program featuring internal soloists; the featuring mezzo-soprano Magdalena Ko zˇená. season-opening concert of Sala Santa Cecilia Committed to the rediscovery of 17 th- and in Rome’s Auditorium Parco della Musica; 18th-century masterpieces, the VBO under Vivaldi’s Stabat Mater and at the Mr. Marcon’s leadership has given the mod - Brugge Concertgebouw; concerts in Lisbon ern-day premières of ’s and France with soprano Patricia Petibon; L’Orione , Vivaldi’s , Andromeda liber - performances of Metastasio’s L’Olimpiade in ata , Benedetto Marcello’s La morte d’Adone

PLAYBILL ABOUT THE ARTISTS and Il trionfo della poesia e della musica , and Boccherini’s La Clementina . With Teatro in Venice, the Orchestra has staged Cimarosa’s L’Olimpiade , Handel’s , and Galuppi’s L’Olimpiade , and reprised Siroe at the Brooklyn Academy of Music in New York in its first full staging in the United States. The Orchestra’s newest recording, of Porpora ari as, featuring Philippe Jaroussky with special guest , was released by Erato in autumn 2013. Their 2012 release on Naïve, a pasticcio of Metastasio’s L’Olimpiade , featuring the recording pre - mières of many 18th- century opera arias, was awarded the Choc du Monde de la Musique. The VBO has an extensive discography with Sony and Deutsche Grammophon. Their world-première recording of Andromeda lib - erata for DG was followed by violin concertos with Mr. Carmignola; Vivaldi and The countertenor Philippe Jaroussky —just concertos for strings; Vivaldi motets and arias over 30 years old—has already established with soprano Simone Kermes; two discs with himself as one of the major singers in the in - Ms. Ko zˇená —Handel arias and Vivaldi arias; ternational musical world, as confirmed by Vivaldi violin concertos with Viktoria Mullova the French Victoires de la Musique, broadcast and Mr. Carmignola; and Italian arias with Ms. live on National TV (Revelation Artiste Petibon. The Orchestra’s earlier discography Lyrique 2004, Artiste Lyrique de l’Année 2007 on Sony with Mr. Carmignola includes The and 2010, CD of the Year 2009), and the Echo Four Seasons , previously unrecorded Vivaldi Klassik Awards in Germany in 2008. concertos, and a collection of Bach arias fea - His technique allows him the most auda - turing . The Orchestra cious nuances and impressive pyrotechnics. has been honored with the Diapason d’Or, Mr. Jaroussky has an extremely large repertoire Choc du Monde de la Musique, Echo Award, in the Baroque area, from the refinements of and Edison Award. the Italian Seicento with Monteverdi, Sances, In addition to frequent radio broadcast of and Rossi to the staggering brilliance of their concerts, the Orchestra has been seen Handel and Vivaldi’s music—the latter being worldwide through several television specials, the composer he has sung most these last few including films by the BBC, ARTE, NTR years. Mr. Jaroussky has lately decided to ex - (Netherlands), and NHK. They have been the plore very different repertoire, both contem - subject of three recent video recordings, in porary and modern, with the pianist Jerôme Romania, Croatia, and Lisbon. Their per - Ducros. They are performing mélodies com - formances were also featured on Swiss TV in posed by Marc-André Dalbavie from the the documentary film by Richard Dindo, po ems of Louise Labbé, as well as French Vivaldi in Venice . mélodies from the late 19th and early 20th cen - The Venice Baroque Orchestra is supported turies, in many countries, including the Unite d by Fondazione Cassamarca in Treviso. Kingdom, Germany, and the United States. Mr. Jaroussky has worked with the best Baroque , such as , Les Arts Florissants, , Le Concert d’Astrée, L’Arpeggiata,

CAL PERFORMANCES ABOUT THE ARTISTS

Le Cercle de l’, and Among his others projects in the 2013–2014 with conductors like William Christie, Jean- season, Mr. Jaroussky performs for the first Christophe Spinosi, , René time with ensemble Orfeo 55 , conducted by Jacobs, , Jérémie Rhorer, Nathalie Stutzmann. He also joins I Emmanuelle Haïm, Jean-Claude Malgoire, Barocchisti and for a tour of and . In 2002, he founded Pergolesi’s Stabat Mater with soprano l’Ensemble , which per forms music . ĹĹ all over Europe. Mr. Jaroussky records exclusively for Virgin Mr. Jaroussky has been praised in all of the Classics and has received many awards for his most prestigious concert halls and theaters in recordings on the label. For Heroes , a disc of Ĺ France—Théâtre des Champs-Élysées, Vi valdi opera arias, he received a gold disc in Théâtre du Châtelet, , , 2007, and it has received a Diapason d’Or, a Opéra de Lyon, Opéra de Montpellier, Opéra “10” from Classica-Répertoire, the Choc du de Nancy, Arsenal de , Théâtre de Monde de la Musique, the Timbre de Platine Caen—and abroad—the Barbican and from Opera International, and a Gramophone Southbank centers in London, Palais des Award. His CD Tribute to Carestini (with Le Beaux Arts in Brussels, Grand Théâtre du Concert d’Astrée and Ms. Haïm) was CD of Luxembourg, Konzerthaus in Vienna, the year at the Victoires de la Musiq ue in 2008 Staatsoper and Philharmonie in , Teatro and at the Midem Classical Awards in 2009. Real in , and Carnegie Hall and In 2009, the CD Teatro d’Amore , featuring Lincoln Center in New York. He recently music of Monteverdi with L’Arpeggiata and Ms. joined Cecilia Bartoli in as Sesto for Pluhar, became an immediate bestseller. A few stage performances of Handel’s . months later, his surprising CD Opium (French This season, after a nine-month sabbatical, mélodies ) proved an international success. Mr. Jaroussky has returned to the international His recording La Dolce Fiamma is dedicated stage in the Farinelli tour with the Venice to forgotten castrato arias by Johann Christian Baroque Orchestra, performing at the Théâtre Bach with Le Cercle de l’Harmonie and des Champs-Élysées, Ambronay Festival, Jérémie Rhorer. He is also on Arpeggiata’s lat - Svetlanov Hall of , Berlin Philhar- est release, Via Crucis . Tribute to Carestini and monie, Dortmund, Alte Oper of Frankfurt, La Dolce Fiamma have both gone gold. Liederhalle of Stuttgart, Prinzregentheater of In 2010, Mr. Jaroussky was awarded his , Luxemburg Philharmonie, Brussels fourth Victoire de la Musique, as singer of Bozar, Madrid’s Auditorio Nacional de Música, the year. His recent CD is dedicated to and Teatro de of Barcelona, as well as in Farinelli and Porpora and was released in Asia and the United States. September 2013.

PLAYBILL