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Embodiment of Love in Handel´S Opera Giulio Cesare
Proceedings of the 3rd International Conference on Music & Emotion (ICME3), Jyväskylä, Finland, 11th - 15th June 2013. Geoff Luck & Olivier Brabant (Eds.) EMBODIMENT OF LOVE IN HANDEL´S OPERA GIULIO CESARE Marjo Suominen Department of Philosophy, History, Culture and Art Studies, Institute of Musicology, University of Helsinki, Finland [email protected] Abstract By studying metaphors of love in Handel´s opera Giulio Cesare in Egitto, I will introduce how it is depicted by the protagonists´ arias; via Cleopatra´s and Caesar´s musical relations, as a prevailing message. The atmos- pheric tone paintings set to the musical highlights of the protagonist arias answer the questions: how is love defined in Giulio Cesare? What kind of musical signs of love are there to be found and what will they tell us? Love is an essential theme in the work because the arias` foci are interlocked by the affectual tensions. These have encouraged various performance views of the work, for instance: ENO´s “epoch” depiction in 1984; Sel- lar´s “satirical” version in 1990; and Glyndebourne`s “colonialist” perspective in 2005. I apply the theory of af- fects in music appearing in the writings by Handel´s colleague Johann Mattheson (Das Neu=Eröffnete Orches- tre, 1713) grounded on Classic Aristotelian and Cartesian ideals (Aristotle´s Rhetoric, Descartes´ es passions de l e) (Suominen, July & September 2010). It also relates to so called Hippocratic-Galenic four elements, temperaments or humours theory by which I will show the different representations of the opera´s characters as a cathartic (ethic, Lutheran based) implication by Handel. -
George Benjamin
Update May 2018 George Benjamin Olicantus (2001) Co-commissioned and co-produced by the Royal Opera Covent Garden London, Dutch National Opera Amsterdam, Hamburg State solo piano opera, Opéra de Lyon, Lyric Opera of Chicago, Gran Teatre del Liceu Duration 4 minutes Barcelona and Teatro Real Madrid FP: 17.5.2004, Wigmore Hall, London, UK: Paul Crossley 10.5.2018, Royal Opera House, London, UK: The Orchestra of the Score on special sale from the Hire Library Royal Opera House/George Benjamin/dir. Katie Mitchell Full score, vocal score and parts in preparation Written on Skin (2009-12) Text (0-571-54055-4) and first edition vocal score (0-571-54054-6) will opera in three parts be on sale (10th May 2018) Text by Martin Crimp (Eng) Duration 95 minutes 3(II=picc, III=picc & afl).2.2.bcl(=cl).cbcl.2(II=cbsn) - 4.4(I=ptpt).3.1 - perc(4): glsp/crot/steel drum/3 t.bells/ 5 tuned c.bells/vib/gong/2 small timp/6 mini-tablas/ 3 bongos/2 SD/2 TD/tumba/BD/small claves/ 3 mokubios/4 tpl.bl/sleigh bells/mcas/pebbles/guiro/ whip/sandpaper blocks/computer keyboard or typewriter/ small tgl/untuned c.bell/clash. cyms (2 pairs)/ 5 susp.cyms/tam-t - harp - glass harmonica - bass viola da gamba - strings (8.6.6.6.4 players) 2 first violins doubling mandolins; all double basses must have extensions to low B natural FP: 7.7.2012, Festival d’Aix en Provence, Grand Theatre de Provence, France:Christopher Purves/ Barbara Hannigan/Bejun Mehta/Victoria Simmonds/ Allan Clayton/ Mahler CO/George Benjamin Commissioned by the Festival d’Aix-en-Provence, De Nederlandse Opera (Amsterdam), Théâtre du Capitole (Toulouse), Royal Opera House Covent Garden London Cased full score 0-571-53759-6, full score 0-571-53758-8, vocal score 0-571-52672-1 and text 0-571-53760-X on sale, full score and parts for hire Dream of the Song (2014) countertenor, female chorus and orchestra Text: Ibn Gabirol (trans. -
Arias for Farinelli
4 Tracklisting NICOLA PORPORA 7 A Master and his Pupil 1686-1768 Philippe Jaroussky Arias for Farinelli 9 Un maître et son élève Philippe Jaroussky PHILIPPE 11 Schüler und Lehrer JAROUSSKY Philippe Jaroussky countertenor 17 Sung texts CECILIA 32 The Angel and the High Priest BARTOLI Frédéric Delaméa mezzo-soprano 54 L’Ange et le patriarche Frédéric Delaméa VENICE BAROQUE ORCHESTRA 79 Der Engel und der Patriarch ANDREA Frédéric Delaméa MARCON 2 3 Nicola Antonio Porpora Unknown artist Carlo Broschi, called Farinelli Bartolomeo Nazzari, Venice 1734 5 Philippe Jaroussky C Marc Ribes Erato/Warner Classics Cecilia Bartoli C Uli Weber/Decca Classics 6 A MASTER AND HIS PUPIL Philippe Jaroussky Over all the time I have been singing I have been somewhat hesitant about tackling the repertoire of the legendary Farinelli. Instead, I have preferred to turn the spotlight on the careers of other castrati who are less well known to the general public, as I did for Carestini a few years ago. Since then, having had the opportunity to give concert performances of arias written for Farinelli, I found that they suited me far better than I could have imagined – particu lar ly those written by Nicola Porpora (1686-1768), known in his time not only as a composer, but also as one of the greatest singing teachers. I soon became interested in the master-pupil relationship that could have existed between Porpora and Farinelli. Despite the lack of historical sources, we can presume that Farinelli was still a child when he first met Porpora, and that the composer’s views had a strong bearing on the decision to castrate the young prodigy. -
Septem Verba a Christo
GIOVANNI BATTISTA PERGOLESI Septem verba a Christo SOPHIE KARTHÄUSER CHRISTOPHE DUMAUX JULIEN BEHR KONSTANTIN WOLFF RENÉ JACOBS FRANZ LISZT Verbum I: Pater, dimitte illis: non enim sciunt qui faciunt (Luke 23:34) 1 | Christus (bass) Recitativo Huc, o dilecti filii 1’57 2 | Aria En doceo diligere 4’38 3 | Anima (alto) Aria Quod iubes, magne Domine 4’02 Verbum II: Amen dico tibi: hodie mecum eris in Paradiso (Luke 25:43) 4 | Christus (tenor) Recitativo Venite, currite 0’55 5 | Aria Latronem hunc aspicite 4’23 6 | Anima (soprano) Aria Ah! peccatoris supplicis 5’04 Verbum III: Mulier ecce filius tuus (John 19:26) 7 | Christus (bass) Recitativo Quo me, amor? 2’01 8 | Aria Dilecta Genitrix 3’35 9 | Anima (soprano) Recitativo Servator optime 1’18 10 | Aria Quod iubes, magne Domine 5’59 Verbum IV: Deus meus, deus meus, ut quid dereliquisti me? (Mark 15:34) 11 | Christus (bass) Aria Huc oculos 5’57 12 | Anima (alto) Aria Afflicte, derelicte 5’40 Verbum V: Sitio (John 19:28) 13 | Christus (bass) Aria O vos omnes, qui transitis 5’19 14 | Anima (tenor) Aria Non nectar, non vinum, non undas 4’13 Verbum VI: Consummatum est (John 19:29) 15 | Christus (bass) Aria Huc advolate mortales 6’09 16 | Anima (soprano) Aria Sic consummasti omnia 5’35 Verbum VII: Pater, in manus tuas commendo spiritum meum (Luke 23:44-46) 17 | Christus (bass) Recitativo Quotquot coram cruce statis 1’36 18 | Aria In tuum, Pater, gremium 5’33 19 | Anima (tenor) Aria Quid ultra peto vivere 6’25 Soprano Sophie Karthäuser Countertenor Christophe Dumaux Tenor Julien Behr Bass Konstantin -
Programme Haim.Indd
DESPERATE LOVERS LE CONCERT D’ASTRÉE ------- PROGRAMME DESPERATE LOVERS LE CONCERT D’ASTRÉE ------- Georg Friedrich Händel 2 PROGRAMME « Le Concert d’Astrée » du 10 avril 2019 DESPERATE Première partie /42’ Deuxième partie /33’ LOVERS Sandrine Piau soprano Tim Mead contre-ténor Rodelinda (1725) Orlando (1733) Le Concert d’Astrée 1. Ouverture – Menuet 8. Accompagnato Orlando « Ah, stigie larve » et Emmanuelle Haïm direction air « Vaghe pupille » (II,11) Tamerlano (1724) Airs et duos extraits des opéras Rodelinda, Tamerlano, Aci, 2. Air d’Andronico « Più d’una tigre altero » (II,8) Alcina (1735) Galatea e Polifemo, Rinaldo, Ariodante, Orlando, Alcina, 9. Alcina « Ah, mio cor » (II,8) G-F.Händel (1685-1759) Aci, Galatea e Polifemo (1708) 3. Aci « Verso già l’alma col sangue » Orlando 4. Concerto Grosso n°2 opus 3 en Sib majeur 10. Ouverture Vivace – Largo – Allegro – Menuet – Gavotte Rodelinda Rodelinda (1725) 11. Rodelinda-Bertarido « Io t’abbraccio » (II,7) 6 avril 2019 : Gran Teatre del Liceu, Barcelone 5. Air de Bertarido « Vivi, tiranno » (III,6) 10 avril 2019 : Victoria Hall, Genève Rinaldo (1711) 12 avril 2019 : KKL, Lucerne* Ariodante (1735) 12. Récit « Adorato mio sposo » et 14 avril 2019 : Abbaye de Vaucelles 6. Récit « Ingrato Polinesso » et duo Almirena-Rinaldo « Scherzano sul tuo volto » (I,6) 16 avril 2019 : Grand Théâtre de Provence, Aix-en-Provence (Festival de Pâques) air de Dalinda « Neghittosi, or voi che fate? » (III,2) 17 avril 2019 : Théâtre des Champs-Elysées, Paris 4 juin 2019 : Wiener Staatsoper Tamerlano 6 juin 2019 -
56 0809Englisch.Pdf
A Wien Holding Company Intendant Roland Geyer General sponsors of the Theater an der Wien The Theater an der Wien recieves subsidies from the Cultural Department of the City of Vienna insNoten130x205_4c_E_TheaterRZ 04.06.2008 13:53 Uhr Seite 1 „WHOEVER HEARS BUTTERFLIES LAUGHING, KNOWS THE SCENT OF CLOUDS“ (Novalis) he butterfly is a wonderful symbol of transformation and freedom. And this is a requirement that art repeatedly demands, too. The mysterious Tmetamorphosis of the ugly caterpillar into the magnificent butterfly has sti- mulated man’s imagination from time immemorial. Everyone who watches Where does a butterfly is struck by its beauty, elegance and lightness. The ancient ability to think in images and symbols is inside each one of us – and in the world of opera, too. The opera is a treasure-house of the music call the tune? irrational. It unfolds “our imagination’s most beautiful alternative world.” Mozart himself confessed, “I need only to hear talk about opera, I need only to be in the theatre and hear voices – it suffices to transport me utterly.” The Theater an der Wien, the new opera house, is aiding a development in our city that no one can now fail to notice: more and more people with an interest in culture, and younger people too, are going to the opera! They are looking for a space where dreams and longings can unfold freely with great emotion and even pathos – and the opera provides a meeting place for them: everything appears bathed in “bright” light, and in this light one is drawn in by enchanting sounds. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Che Puro Ciel the Rise of Classical Opera Bejun Mehta Akademie Für Alte Musik Berlin René Jacobs W FRANZ LISZT
Che Puro Ciel the rise of classical opera Bejun Mehta Akademie für Alte Musik Berlin René Jacobs w FRANZ LISZT CHRISTOPH WILLIBALD GLUCK (1714-1787) 1 | Orfeo ed Euridice : Aria Che puro ciel! 6’06 2 | Coro Vieni a’ regni del riposo 1’46 WOLFGANG AMADEUS MOZART (1756-1791) 3 | Ascanio in Alba : Recitativo Perché tacer degg’io? 4’33 4 | Aria Cara, lontano ancora 5’01 TOMMASO TRAETTA (1727-1779) 5 | Antigona : Aria Ah, se lo vedi piangere 3’17 JOHANN ADOLF HASSE (1699-1783) 6 | Il trionfo di Clelia : Aria Dei di Roma, ah perdonate! 4’32 JOHANN CHRISTIAN BACH (1735-1782) 7 | Artaserse : Recitativo accompagnato No, che non ha la sorte 1’58 8 | Aria Vo solcando un mar crudele 6’45 TOMMASO TRAETTA 9 | Ifigenia in Tauride : Dormi Oreste! 7’47 CHRISTOPH WILLIBALD GLUCK 10 | Ezio : Aria Pensa a serbarmi, o cara 5’07 WOLFGANG AMADEUS MOZART 11 | Ascanio in Alba : Aria Ah di sì nobil alma 3’42 TOMMASO TRAETTA 12 | Antigona : Aria Ah, sì, da te dipende 5’00 CHRISTOPH WILLIBALD GLUCK 13 | Ezio : Aria Se il fulmine sospendi 3’27 WOLFGANG AMADEUS MOZART 14 | Mitridate : Recitativo accompagnato Vadasi... 1’23 15 | Aria Già dagli occhi il velo è tolto 9’19 Countertenor Bejun Mehta Akademie für Alte Musik Berlin Violins Bernhard Forck, Stephan Mai, Thomas Graewe Barbara Halfter, Kerstin Erben, Dörte Wetzel Matthias Hummel, Katharina Grossman, Rahel Mai, Erik Dorset Violas Anja-Regine Graewel, Annette Geiger Clemens-Maria Nuszbaumer, Stephan Sieben Violoncellos Antje Geusen, Barbara Kernig, Jan Freiheit Double basses Michael Neuhaus, Walter Rumer Flutes Christoph Huntgeburth, Andrea Theinert Oboes Xenia Löffler, Michael Bosch Clarinets Toni Salar-Verdú, Marie Ross Bassoons Christian Beuse, Eckhard Lenzing Horns Erwin Wieringa, Miroslav Rovenský Trumpets Ute Hartwich, Sebastian Kuhn Harpsichord, fortepiano Raphael Alpermann Conductor René Jacobs with the participation of RIAS Kammerchor (2, 9) 3 Les deux principaux “réformateurs” : Gluck et Traetta Les historiens considèrent généralement la création de l’Orfeo viennois comme l’acte fondateur de la réforme mélodramatique européenne. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
PRESENTS Table of Contents
PRESENTS Table of Contents Welcome................................................................................................................. 3 Staff and Board of Directors..........................................................................6 About Pittsburgh Festival Opera.................................................................7 Cornetti’s Candid Concert and After-Party | July 10................................8 Marianne: Unstaged | July 11, 18, and 25.................................................10 Pit Crew: Singer-Free Sundays | July 12, 19, and 26..............................13 Leitmotif: Walking through Wagner | July 16..........................................17 I, Too, Sing | July 17...........................................................................................18 Composer Spotlight: Mark Adamo | July 23.............................................20 Putting it Together: Online Young Artists Program | July 24..........21 2020 OYAP Faculty........................................................................................... 26 Rusalka: A Mermaid’s Tale | July 25............................................................27 Contributions, Gifts, and Institutional Support................................. 29 Welcome from the President We need 20-20 vision to view the events of 2020. Much of what we took for granted, including the highest ever level of our economy and the lowest ever level of unemployment, suggested a bright future for the performing arts. We at Pittsburgh Festival Opera were especially -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland.