& : Dolce duello Friday 1 December 2017 7.30pm, Hall Hasse Il – Caldara Nitocri – ‘Fortuna e speranza’ Albinoni Il nascimento dell’Aurora – ‘Aure, andate e baciate’ Gabrielli San Sigismondo, re di Borgogna – ‘Aure, voi de’ miei ’ Pollarolo – overture Handel Il Trionfo del Tempo e del Disinganno – ‘Lascia la spina’ Raupach , re di Persia – ‘O placido il mare’ Handel Ode for St Cecilia’s Day – ‘What passion cannot raise and quell!’ interval 20 minutes Boccherini No 10 in D major, G483 Gluck – ‘Dance of the Furies’ Boccherini ‘Se d’un amor tiranno’, G557

Cappella Gabetta Andrés Gabetta leader Haase Cecilia Bartoli mezzo- Sol Gabetta cello

Part of Barbican Presents 2017–18

Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers.

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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 2 shoulders with Handel and Gluck. shoulders withHandelandGluck. such asPollarolo andRaupach rubbing is noexception, withlesser-known figures of hermusicalprogramming andtonight has longbeenknown for theinventiveness craze for musicalduelling.CeciliaBartoli Decca, isanexploration of the18th-century its titlefrom theirrecently released discon The programme ‘Dolceduello’,whichtakes Cecilia Bartoli andcellistSolGabetta. charismatic artists:mezzo-soprano given by two of themusicworld’s most A warm welcome to thisevening’s concert, Welcome

Nico Muhly. Harrison Birtwistle,,Maxim Vengerov and ,IestynDavies, Joyce DiDonato, Sir Jonathan Biss,SirJamesMacMillan, George Benjamin, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Barbican Classical MusicPodcasts Huw Humphreys, Head of Music,Barbican I hopeyou enjoy theconcert. for itsconcertsandrecordings. but hasalready gainedmany plaudits The ensemblewas onlyformed in2010 equally gifted brother, violinistAndrés. welcome CappellaGabetta, ledby Sol’s Accompanying themwe’re delighted to extraordinary outbreaks of virtuosity. way, assingerandcellistindulgein will beplentyof thrillsalongthe What isnot indoubtisthatthere – something Pan was unable to do. to unable Pan was – something playing skilful his to voice his winner, adding the named was however, Apollo Eventually last. the than beautiful more one every sounds conjured turn in each as rounds many for continued competition The . the playing nature, of god Pan, and the lyre, his on performing himself, music of god the Apollo, than figure a less no between –abattle contest such first very the of story the tells mythology Greek back. further much extend origins their but Baroque, the of music embellished highly intricate, Musical duels may have flourished in the beauty. with but blows, with not another one battling virtuosity, of heights new to instrumentalists one-upmanship, pushing singers and of bout –amusical aduel now was duet a been once had What written. was it how but performed, was music how just not transformed describes, contests between soloists vividly Burney Charles as where, house the to extended that aphilosophy was It than person. more pride wound to intended –combat only battles symbolic were honour. These and skill of them with swords in highly ritualised skirmishes resolved gentlemen but brawling, and knives fists, with differences their settled have may Men duel. the of age the was 18th century The …’ sides take different to and contest, inthe themselves interest to began audience the till sportive, merely and amicable seemed first, at this, instrument: by that accompanied a song in , the on player afamous and night between every astruggle was ‘There The art of the musical duel musical of the art The duello Dolce forms themselves celebrate and promote rivalry rivalry promote and celebrate themselves forms musical many and conflict, requires drama every tension; without music in resolution no be can There story. the half only is harmony But concord. agreement, consonance, – of harmony of thinking are we music of talk we When 1837. in Thalberg Clementi, and tussle Liszt’s with Sigismond Muzio –pianist fellow with battle notorious Mozart’s musical including players, of high-profile keyboard clashes between asequence of start the was This defeat.) certain of humiliation the avoid to fled and practising Bach heard he that it has (Legend contest. the before night the disappeared famously who Marchand, Louis virtuoso keyboard French with anear-duel in reputation his for competing to close came Bach career, even singer’s and the during battles musical several of one just were player atrumpet with duels crowd-pleasing Farinelli’s celebrated Minnesingers; onbased those of Germany’s medieval are Wagner’s of Meistersingers competitions throughout musical history. The singing again and again returned has that idea an It’s in a musical form that sits somewhere somewhere sits that form amusical in orchestra against soloist pits that wits of abattle concerto, the of think all, Above dominance. for pull and push which themes musical contrasting two its with sonata, Classical the even or , ofsoloists Bach’s Brandenburg characterful rival many the —of arabesques semiquaver complex more and swifter in other the outdo to striving each violinists, competing two between grossi concerti Corelli’s of exchanges virtuosic the of Think individuals. or ideas different between

– elaborate solos passing passing solos – elaborate

3 Programme notes 4 and by a range that embraces that of a a of that embraces that by arange and tone, mellow sonorous, uniquely instrument’s by the prompted drawn, have many aconnection It’s quality. near-human vocal, cello’s the to curiously reaction his in alone not is Rostropovich Mstislav –my voice.’ voice a like seemed it because instrument the with love in Ifell cello the learning Istarted ‘When match. can instrument other no that cello and voice between intimacy conversational asensual, them, to dimension human –there’s auniquely apart stand though, cello, with Those . the for laments brilliance from with trumpet, plangent chosen by the composer: martial, war-like instruments by the shaped are results The from the instrumentalist. breadth emotional and delicacy expressive singer, greater the from precision and speed the other’s technique, demanding greater from borrow to player and singer both invite Handel, Bach and their contemporaries which by Scarlatti, arias astonishing find we So belly. acello’swooden or huge torso metal trumpet’s oboe’s a an reed, against throat human – a instrumentalist against singer pitting divide, time,first the crossed competition musical the For spectacular. most the easily is part, solo obbligato , with its pugnacious instrumental 18th century’s the duels, musical of extended and elaborate most the is concerto the if But silence. to reduced is rival the which in solo adazzling prize the argument, an and aconversation between that is music at its purest and most extreme – at –at extreme most and purest its at music is that beauty of abattle to witness is who onlooker silent the listener, the always is answer The conflict? musical charged this in wins who So instrument. own its is that abody through ripple that thoughts and emotions the discover to nature’s music, own match to craftsmanship and strings and wood to achallenge potent: less no but subtler is offers singer the What restriction. only its breath, bow, acello’s horse-hair a of length –the force musical superhuman this match to hope even dare they if singer any from unthinkable demands agility instrument the intervals, large over easily Leaping limits. physical its to it pushes voice, human With its vast range, the cello challenges the throat. human no from emerging for potent more the all song in it alongside ‘singing’ voice, human the with union musical profound more altogether an achieving of was it as capable rivals, its eclipsed tone, characterful richly its rhetoric, wordless its with cello, important than the sound itself. Suddenly the less became made was asound how gradually and evolved, thinking and changed times But voice. the of music God-given the to closer not, were strings manmade away in natural organic, as seen prized, highly most the were For classical philosophers, wind instruments always so. wasn’t it But sound. of sweep androgynous asingle in and tenor alto, soprano, © Decca Music Group Ltd Group Music © Decca Coghlan; Alexandra by note Programme duels. of sweetest the and aduet once

and other historians for herbeautyandvirtue. celebrated by Herodotus, Diodorus, Syncellus ‘Nitocris, Queenof Egyptand Thebes,hasbeen of Memphisinaround 2180 BC, asfollows: his opera, setintheAncientEgyptiancapital The librettist Zenosummarisedtheplot of de rigueur period, andanew opera would have been Such events were lavish affairs intheBaroque mother of thefuture empress MariaTheresia). of Brunswick-Wolfenbüttel, Charles’swife (and birthday celebrations for ElisabethChristine Favorita inAugust 1722 aspartof thatyear’s Nitocri have conducted someof themhimself. Caldara’s so muchthatheisknown to opera, composed thesecondact of acollaborative court of CharlesVI.Several years earlierhehad 1716 to becomevice- attheimperial The Venetian-born Caldara moved to Viennain : ApostoloZeno Nitocri (Nitocris) 35-year stage career. which Bordoni appeared, markingtheendof her theatre in1751, andwas alsothelastopera in later works, itwas premiered atDresden’s court empire inthesixthcenturyBC. Oneof Hasse’s Il Ciro riconosciuto the road, travelling between andDresden. Hasse andBordoni spentmuchof theirtimeon most high-profile celebritycoupleof theirday, career aswell asbearinghimthree children –the continued to develop herown hugelysuccessful Venetian mezzo-soprano Faustina Bordoni, who European musicworld. Hassemarriedthestar networker andheldvarious leading postsinthe catalogue of works. Hewas alsoaskilled , leaving anexceptionally extensive of the18th century’smostsuccessfulandprolific of 84.Hard-working anddisciplined,hewas one his era, dyingon16 December1783 attheage Hamburg in1699, lived anunusuallylonglife for Hasse, whowas borninBergedorf, near Libretto: Il Ciro riconosciuto (Cyrusrecognised) Johann AdolfHasse For texts, seepage9 was premiered inVienna’sTeatro della L’Atenaide . , for Charles,whoenjoyed is set in the ancient Median issetintheancientMedian

Albinoni marriedafamous singer:thesoprano and other majormusicalcentres. Like Hasse, opera to commissionfor theatres inVenice year. From thenonwards, hewrote opera Trio Sonatas, Op 1, were publishedthesame to have beenpubliclyperformed, in1694. His The opera take lessonsinviolin,singingandcomposition. have beenlargely self-taught. Hedidhowever is known abouthismusicteachers, andhemay contented himselfasamusicaldilettante. Nothing his father, aplaying-card manufacturer, helong having begunhisprofessional life working for Albinoni was, like Caldara, borninVenice where, Libretto: Pietro Metastasio Il nascimento dell’Aurora of (TheBirth Aurora) in fortune andhope. sights. Here shebemoansthetrusthasplaced general onwhomthequeenhasalsosether sister Emirena, inlove withMirteo, theEgyptian The aria‘Fortuna esperanza’ issungby Nitocris’s these historical foundations.’ was succeededby Mirteo. Thetale isbasedon whether sheever thoughtof marrying,andshe and succeededhimasruler. Itisnot known treacherously murdered by personsunknown, avenged thedeathof herbrother, KingAmenosi, also had agreat underground chamberbuilt.She counted amongthewonders of theworld; she she had builtoneof theancientpyramids thatare not justinEgypt,but anywhere. NearMemphis, She was thefirst woman to ruleinherown right, Apollo ispursuing thechaste andreserved outdo oneanother withtheirgifts.Meanwhile, of flowers) and Peneus (ariver god)seekto Zephyr (god of theWest Wind),Flora (goddess string of arias,Apollo,Daphne(awood nymph), birthday of thedawn goddessAurora. Ina serenata, having gathered to celebrate the Five mythological characters appearinthe read asan encouragement to produce anheir. within thetext whichtheroyal couplemighthave was stillchildless,andthere are various allusions Two years into hermarriage to Charles,Elisabeth a festive pieceintribute to ElisabethChristine. an allyof theHabsburgs: Albinoniwas to write commissioned by theCityof Venice initsrole as occasional work, first performed in1710. Itwas The serenata Margherita Raimondi. Zenobia Il nascimento dell’Aurora isthefirst of hisworks known was an was an

5 Programme notes 6 death. expresses repentance for herpartinstepson’s In thearia‘Aure, voi de’mieisospiri’Inomachia eventually brutally killedon1May 523 (or524). and taken prisoner, alongwithhisfamily –allare attacks astheanswer to hisprayer. Heisdefeated longs for divinepunishment,seeinghisenemies’ king hashimmurdered. Filledwithremorse, he on thethrone and,intheheatof themoment, Inomachia tells Sigismund that his son has designs wearing hisdead mother’s ceremonial robes. and openlyaccuses herof beingunworthy of does not getonwithhisstepmother Inomachia crime: Sigismund’ssonfrom hisfirst marriage 520, anddealswiththeaftermath of aterrible on Palm Sunday 1687, issetinOrleansaround Gabrielli’s , first performed inBologna mutual distrustandconstant warfare. for thethrone –thesewere turbulenttimesof Arles. Sigismundandhisbrother remained rivals became thespiritualcentre of theKingdomof St Maurice inAgaune (Switzerland),whichlater Christianity andhad founded theAbbey of which timeSigismundhad beenconverted to with hisfather in501. Thelatter diedin516, by became co-regent of theKingdomof Burgundy The historic figure of Sigismund(bornin474) worked atthecourtof theDuke of Modena. Petronio Basilicainhisnative Bologna,healso A memberof the popular asasuccessorto thevioladagamba. cello atatimewhenhisinstrumentwas becoming his day, andwrote anumberof works for solo Gabrielli was oneof themostfamous cellistsof Libretto: DomenicoBernardoni King of Burgundy) San Sigismondo,re diBorgogna (StSigismund, Domenico Gabrielli kiss herroyal feet. instructs hisgentlebreezes to fly to Aurora and tree. Inthearia‘Aure, andate ebaciate’, Zephyr with hernotorious metamorphosis into alaurel to bemoved by hiscourtship.Thework ends Daphne, whoonlyvery gradually allows herself cappella musicale of the San of theSan papal ban onpublic opera performances since soon have discovered thatthere had beena in oneof theItalian opera centres, hewould January 1707, inorder to continuehistraining When theyoung Handelarrived inRome in Libretto: Cardinal Benedetto Pamphili (The Triumph of Time andDisillusion) Il Trionfo del Tempo edelDisinganno version thatisusuallyperformed today. He revised thework two years later, anditisthis 19-year-old Faustina Bordoni made herdebut. this, incidentally, was theopera inwhichthe then for thistheatre thathewrote Grisostomo, owned by theGrimanifamily. Itwas at Venice’s prestigious Teatro SanGiovanni between 1690 and1708 was ‘housecomposer’ Pollarolo wrote hisfirst opera in1678, and orphanages andmusicschools. Ospedale degliIncurabili, oneof thecity’sfour in 1696, hebecamemusicaldirector of the vicemaestro dicappella In 1689/90 hemoved to Venice to become and beganto receive avariety of commissions. the Accademia degliErranti cultural society Shortly after thishebecamemusicdirector of where hisfather had beenorganist before him. musician) of thecathedral inBrescia in1680, Pollarolo was appointed Libretto: AntonioSalvi Ariodante Carlo Francesco Pollarolo wrote inRome andwas premiered atthehome Disinganno The oratorio personal style. he saw andheard to incorporate itinto hisown chapter of musichistory, absorbingeverything Handel leaptstraight into thisunique Roman performed withoutsets,sceneryorcostumes. scarcely differed from operas, butwhichwere and –works thatinmusicalterms they commissionedlibrettos for cantatas by simplychangingitsoutward appearance: enjoying theirfavourite form of entertainment 1703. TheItalians had found away to continue was oneof thefirst works Handel Il Trionfo del Tempo edel atSt Mark’s.Then, capo Ariodante (chief (chief in1716 –

theatre. Heis regarded asoneof thefounders written in1760 for theSt Petersburg court He composedthree operas, including Academy of FineArts. of themusicdepartmentatSt Petersburg the courtbefore beingappointed director Paris, thenreturned to Russiaandhispostat and 1768 hewas active inHamburg and St Petersburg courtorchestra. Between 1762 was appointed deputyharpsichordist of the spent muchof hislife inRussia.In1755 he Raupach was borninStralsund in1728 but Libretto: Pietro Metastasio Siroe, re diPersia (Siroe, Kingof Persia) Hermann Raupach vain, however, andshebidshimfarewell. the thorn,pluckrose). Hisefforts are in the words ‘Lascialaspina,coglirosa’ (Leave makes onelastattempt atseducingher, with to renounce herworldly life, atwhichPiacere acknowledges herfading youth andresolves lasting beautyrepresented by Truth, Bellezza her present way of life. Having understood the recognise thesuperficiality andtransience of Tempo andDisingannojoin forces to make her encouraging herto simplyenjoy themoment. looks. Piacere triesto dispelherconcerns, but isaware thatshewilleventually loseher admiring herselfnarcissistically inhermirror, and Disinganno(Disillusion).Bellezzaenjoys (Beauty), Piacere (Pleasure), Tempo (Time) represents anabstract quality:Bellezza piece withfour characters, each of whom Il Trionfo blind andhishealthwas beginningto fail. the other in1757, by whichtimehe was almost further versions of theoratorio, onein1737, was settledinLondon,Handelcreated two common practice atthetime.Later, whenhe composed inHamburg –suchrecycling being reused aninstrumental sarabande hehad For thearia‘Lascialaspina’composer had welcomed Handelonhisarrival inthecity. society known astheArcadian Academy, which member of thearistocratic literary andartistic of itslibrettist, Cardinal Pamphili, aleading is astraightforward allegorical Siroe , Text: JohnDryden Ode for StCecilia’sDay George Frideric Handel placido ilmare’. capriciousness –herresponse isheard in‘O of heart,tells herthepeoplewillcondemn Medarse. Herbrother, confusedby herchange she determines to persuade Arasse to support When hetells herhecannot return herlove, loved by Cosroe buthasherself fallen for Siroe. Laodice, sister of thePersian general Arasse, is trust andbecomehisclosestconfidant.’ Siroe. Hidingherhatred, shehaswon Cosroe’s name Idaspe,hertrueidentityknown onlyto She isdisguisedasamanandgoingby the and thedesire to avenge herfather’s death. driven by both herlongstanding love for Siroe journey, shehasarrived atCosroe’s court, Asbite’s daughter, PrincessEmira. After along family to escapetheconquerors’ violencewas king of Cambay. Theonlymemberof theroyal taken both thekingdomandlife of Asbite, had extended sofar to theeastthathehad expanded thePersian borders, andhisvictories Metastasio wrote, ‘Cosroe andhisarmieshad deceitful Medarse.Inhispreface to thelibretto, people, whoprefer thevaliant Siroe to the as hisheir. Thisarouses theangerof the his younger sonMedarseandnameshim monarch Cosroe. Theking,however, favours Siroe isthefirst-born sonof thePersian ever opera inRussian. of Russianopera, having produced thefirst- interval representing thelyre (‘Jubal’schorded shell’). cannot Musicraise andquell?’itisthecello, by asolo instrument:in‘Whatpassion In someof thearias,singerisaccompanied emotions asmartialfervour, despairand love. text inspires musicalevocations of such a double-billwith John Dryden,whichwas premiered aspartof work, the Three years later, hewrote asecondCecilian celebration of St Cecilia’sDay (22November). for theMusicalSocietyof London’sannual In 1736, Handelcomposed 20minutes Ode for St Cecilia’sDay Alexander’s Feast Alexander’s Feast , to atext by . Dryden’s

7 Programme notes 8 held particularlydear. publisher, suggestingitwas onethathehimself the onlywork of itskindhesubmitted to the string trios,quartets andquintets. Thiswas a range of works for publication,principally obligato op 34’.ThecomposersentArtaria as Boccherini’s‘Concerto per ilvioloncello which itwas publishedby Artaria inVienna from sometimebefore 1783, theyear in The CelloConcerto inDmajor, G483dates Stradivari cello. the pointthatheeven had to sellhis1709 in increasingly straitened circumstances, to died. After this,Boccherinifound himself each year until1797, whenFriedrichWilhelm send anumberof new works to himinBerlin himself anenthusiasticcellist,andcontinuedto working for FriedrichWilhelmIIof Prussia, Boccherini had to find new patrons. Hebegan two years later. Theprincediedin1785, and king’s younger brother, theInfante DonLuis, Madrid, entering theserviceof theSpanish In theautumnof 1768 Boccheriniwent to major European musiccentres outsideItaly. were soonindemandfrom publishersinthe a performer andacomposer–hisworks Boccherini really established himselfasboth Paris in1767. Itwas intheFrench capital that two beganaconcerttour whichledthemto a duowithviolinistFilippoManfredi andthe Giovanni Battista Sammartini.Hethenformed of therenowned composerandconductor 1765 hewent to Milanto play intheorchestra performed, particularlythatof Palestrina. In deeply influenced by thesacred musiche heard studies of counterpoint inRome, where hewas own works. Hespentsometimeperfecting his much olderwhenhebegancomposinghis engagements attheage of 13, andwas not Luigi Boccheriniundertook hisfirst public Having beguncellolessonsatanearlyage, Allegro econmoto Andante lentarello – Allegro maestoso – No10inDmajor, G483 Luigi Boccherini also reminds Mandaneof herformer feelings however, begsArtaxerxes to bemerciful. She he bepunished.Arbaces’ sister Semira, guilty and,despite herlove for him,demands murder. Mandanebelieves Arbaces mustbe and thencomesundersuspicionof theking’s to seeMandane,iscaughttryingto escape Artaxerxes. Arbaces, whohassecretly returned whose bodyisdiscovered by hissonandheir, royal guard, therefore assassinates theking, father, Artabanus, whoiscommander of the Mandane’s suitor, Arbaces, into exile. Arbaces’ King Xerxes of Persia hassenthisdaughter Text: Pietro Metastasio (from ) 1786) Se d’unamortiranno, aria, G557(concert Luigi Boccherini should have warned himto stickto therules… the ‘Danceof theFuries’–this,ifnothing else, ’s entryinto Hades isaccompanied by In Gluck’sopera, premiered inVienna1762, rest ishistory. to tryandreassure herthatalliswell, andthe self-control (allegedly)better: heglancesback but withoutlookingback ather. Trust isgood, he hasto doislead herfrom theUnderworld, venomous serpent,to thelandof theliving.All his beloved Eurydice,killedby thebite of a known: Orpheusisgiven thechanceto return The tragic tale of Orpheus and Eurydice is well- edEuridice–DanceofOrfeo theFuries ChristophGluck Willibald Translations ©SusannahHowe Programme notes ©Selke Harten-Strehk; the aria‘Sed’unamortiranno’. what to think,Mandaneaddresses Semira in for Arbaces. Shaken, andnolongerknowing Domenico Bernardoni I lumidolenti. E piangonl’errore Ondeggia ilmiocore, Fra spemeetimore A’ mieiflebili lamenti. Fate l’eco Aure, voi de’mieisospiri Inomachia ‘Aure, voi de’mieisospiri’ San Sigismondo,re diBorgogna (1687)– Domenico Gabrielli(1651–90) Anonymous Aure mie,tornate ame. Io v’aspetto, Colme poidelgrande oggetto Dell’Aurora ilregio piè. Aure, andate ebaciate Zephyr ‘Aure, andate ebaciate’ Il nascimento dell’Aurora (1710)– Tomaso(1671–1751) Albinoni (1668–1750) L’inganno mife’. Né maipiùguardinga Fui credula ognora, Veder chealusinga Die’ loro baldanza Si sonodime. Schernite sovente A nuocermiintente, Fortuna esperanza, Emirena Nitocri (1722)–‘Fortuna esperanza’ Antonio Caldara (1671–1736)

as Iawait you here. return to me,my breezes, Filled thenwithdawn’s light, Aurora’s royal feet. Go, breezes, andkiss never made meany more wary. and thattheirbetrayals trusted theirdeceitfulness, by seeingthatIalways made boldenoughto doso mocked me, have often intent onharming me, Fortune andhope, weep for thesincommitted. and my grieving eyes between hopeandfear, My heartwavers my mournfullaments. and withthemecho Breezes, take my sighs

9 Texts 10 John Dryden(1631–1700) What passioncannot Musicraise andquell! that spoke sosweetly andsowell. within thehollow of thatshell dwell Less thanagodthey thoughtthere couldnot to worship thatcelestialsound! and wondering ontheirfaces fell, his listening brethren stood around, When Jubalstruckthechorded shell, What passioncannot Musicraise andquell! passion cannot Musicraise andquell!’ Ode for StCecilia’sDay (1739)–‘What George Frideric Handel Pietro Metastasio (1698–1782) Diventa perme. Virtù l’incostanza Cangiando sembianza, S’io vo conlasorte Sua colpanonè. È colpadelvento, Terrore espavento; O porticonl’onda Lusinghi lasponda, O placido ilmare Laodice Siroe, re diPersia (1760) –‘Oplacidoilmare’ Hermann Raupach (1728–78) Cardinal Benedetto Pamphili (1653–1730) Nol crede ilcor. Giungerà quando Per manoascosa, Canuta brina, Il tuodolor. Tu vai cercando Cogli larosa; Lascia laspina, Pleasure ‘Lascia laspina’ Il Trionfo del Tempo edelDisinganno(1707)– George Frideric Handel(1685–1759)

© DeccaMusicGroup Ltd Translations by SusannahHowe; a virtuefor me. inconstancy becomes to suitthevagaries of fate, If Ikeep changingmy appearance not of thesea. ’tis thefault of thewind, terror andconsternation; or itbringswithitswaves skims theshore, Either theseagently ere your heartimagines. hoary oldage will bringyou An unseenhand your own sorrow. you are seeking pluck therose; Leave thethorn,

Pietro Metastasio Se d’unamortiranno, Che piùnonamo. Lasciami lusingar Lasciami nell’inganno, Credei ditrionfar, Se d’unamortiranno Mandane Se d’unamortiranno, G557 Luigi Boccherini (1743–1805) etc . Translation ©SusannahHowe I believed Ihad conquered, that Iamnolongerinlove. allow meto flatter myself allow methenthatdelusion, a tyrannical love – I believed Ihad conquered etc .

11 Texts 12 Uli Weber/Decca America, AsiaandAustralia. soprano to theprincipalconcert hallsinEurope, Regular concerttours take theItalian mezzo- duello five Grammys. Herlatest disc, numerous awards inmany countries,including Mission Album Vivaldi Album about rare topics into globalsuccesses: repertoire, shehasturnedthoughtful projects her generation. Always eager to uncover new become oneof themostbeloved singersof classical artist.However, CeciliaBartoli has worldwide, makinghertoday’s best-selling exclusively released by Decca,have beensold More than10 millionaudioandvideorecordings, illustrate thepowerful effects of hermusic-making. facts andfigures, though thelatter mightatleast captured neitherinprosaic words norinsimple her artadequately. Thephenomenoncanbe usual vocabulary proving insufficient to describe Critics have had to find new metaphors, their Cecilia Bartoli’s singingdefies comparison. Cecilia Bartoli About the performers Cecilia Bartoli , hasjustbeenreleased. , and Opera proibita St Petersburg , mezzo-soprano Italian Arias , Maria have allreceived (by Gluck), , Cecilia & Sol: Dolce Cecilia &Sol:Dolce Sacrificium

The Salieri The Salieri The The , from France, where shehasbeenappointed of theOrder of Meritof the Italian Republic, and from Italy, where shehasbeenmade aCavaliere Cecilia Bartoli hasreceived many state honours to theendof hislife. how themusicalworld was changingashecame a fresh perspective onthecomposer, showing starting-point, creating aprogramme thatoffers death. CeciliaBartoli hasusedtheyear 1868 asa memory andmarks the150th anniversary of his WhitsunFestival isdedicated to Rossini’s Elena inRossini’s Handel production. Shealsotook therole of Ariodante inChristof Loy’s new This year sheplayed themaincharacter and conceptual thinkinghasfound anidealoutlet. her talent for combiningartisticexcellence with was recently extended to 2021. InSalzburg, the Salzburg WhitsunFestival, where hercontract In 2012 CeciliaBartoli becameartisticdirector of Princess Caroline of Monaco. of TheirRoyal HighnessesPrinceAlbertIIand Carlo, thisensembletakes prideinthepatronage Cecilia Bartoli. BasedattheOpéra deMonte- was created undertheartisticleadership of orchestra, ‘LesMusiciensduPrince–Monaco’, In summer2016, anew period-instrument Music Prizein2016. Prizein2012 andthePolar Léonie SonningMusicPrize,followed by the College Dublin.In2010 shewas awarded the and hasanhonorary doctorate from University Music andtheRoyal Swedish MusicAcademy Honorary Memberof theRoyal Academy of an Officier desArtsetLettres. Sheisan both aChevalier delaLégiond’Honneur and La donnadelLago . The2018 Julia Weseley Royal ConcertgebouwOrchestra underDaniele festivals suchasLucerneandSalzburg withthe Tours willtake herto themajorEuropean summer andOrchestre NationaldeFrance. Orchestra, SeattleandViennaSymphony Nazionale diSanta Cecilia,CzechPhilharmonic Scala inMilanandtheOrchestra dell’Accademia season sheworks withtheFilarmonicadella Symphony Orchestra underSakari Oramo. This concert of the2016 BBC Proms withtheBBC Mozart inNew York in2015 andattheopening Baden-Baden Easter Festival in2014, atMostly Berlin PhilharmonicunderSirSimonRattle atthe She made highlyacclaimed debutswiththe Musicales in2012. and received theWürth-Preis of theJeunesses Gramophone She isaGrammy Award nominee,was named ARD International MusicCompetitioninMunich. Moscow’s Tchaikovsky Competitionandthe Gutman Award, aswell ascommendationsat at theage of 10, soonfollowed by theNatalia Born inArgentina, shewon herfirst competition Philharmonic Orchestra underValery Gergiev. in 2004andmade herdebutwiththeVienna she won theCrédit SuisseYoung ArtistAward Sol Gabetta cameto international attention when Sol Gabetta Sol Gabetta cello Young Artistof theYear in2010

Palau delaMúsicaCatalana inBarcelona at leading venues suchastheWigmore Hall, As achambermusiciansheperforms worldwide Schwarzenberg andBeethovenfest Bonnfestivals. Verbier, Schwetzingen, Rheingau,Schubertiade Chamber MusicFestival, aswell asatthe Schleswig-Holstein MusicFestival andRosendal has appeared attheGstaad MenuhinFestival, ´nskiKrzysztof Urba andDavid Zinman.She with conductors suchasGiovanni Antonini, orchestras. Shealsocollaborates extensively London PhilharmonicandPhilharmonia Bolshoi Orchestra, ThePhiladelphia Orchestra, orchestras, Bamberg Symphony Orchestra, Bavarian andFinnishRadio Symphony Washington’s NationalSymphony Orchestra, and conductors worldwide, including She regularly performs withleading orchestras Grimaud. Bax. InGermany she will tour withHélène Performances andinSanta Barbara withAlessio Bertrand Chamayou andatSanFrancisco Club musicaldeQuébecandShriver Hallwith will appearintheBoston CelebritySeries,at Kammerorchester Baselto Asia.Inrecital, she to Scandinava andEstonia, andwiththe Gatti, withtheSWR Radio-Sinfonieorchester Kulturfonds. 1759, thanks to agenerous stipendfrom theRahn She performs onacelloby G BGuadagnini from released. disc, recital withHélèneGrimaudonDG.Herlatest on Sony Classical,shehasalsoreleased aduo Elgar. Inaddition to herextensive discography 2013 for recordings ranging from Mozartto she had previously won in2007, 2009,2011 and Year atthe2016 ECHOKlassikAwards, anaward Sol Gabetta was namedInstrumentalist of the Kopatchinskaja andBertrand Chamayou. with distinguishedpartnersincludingPatricia and theThéâtre desChamps-Élysées inParis, Cecilia &Sol:Dolceduello , has just been , hasjustbeen

13 About the performers 14 Grammy nomination for his Bach Brandeburg Félicien David andBoëly. Hehasreceived a lesser-known andneglected composers,including reflects hisinterest inexploring themusicof His wide-ranging, award-winning discography among others. the ViennaMusikverein undKonzerthaus, Gaveau, Théâtre desChamps-Élysées, and Philharmonie, LaeiszHalle Hamburg, Salle Royal Concertgebouw, Amsterdam, Berlin halls, includingtheKKLLuzern,ZurichTonhalle, performs atprestigious European concert As asoloistandchambermusician,he Rheingau Festival andtheBachwoche Ansbach. Haydn Festtage, Schleswig-Holstein Festival, festivals, suchastheGstaad MenuhinFestival, appears frequently atmajorinternational andChristophe Coin.He Patricia Kopatchinskaja, Sergei Nakariakov, Simone Kermes, GáborBoldoczki,BaibaSkride, Gabetta, GiulianoCarmignola,VivicaGenaux, conductor withmusicalpersonalitiessuchasSol Andrés Gabetta shares thestage assoloistand sister, cellistSolGabetta. WithCappellaGabetta, own period-instrumentorchestra together withhis In 2011 hefulfilled along-helddream to form his eras. instruments, to musicof theRomantic andmodern and Classicalworks, performed onperiod extensive repertoire ranges from Baroque and ScholaCantorum BasiliensisinBasle.His Sofía inMadrid, andattheMusikhochschule studies attheEscueladeMúsicaSuperiorReina the age of 4inhisnative Argentina, furtheringhis generation. Hestarted studyingtheinstrumentat as oneof theleading Baroque violinistsof his French-Argentinean Andrés Gabetta isregarded Andrés Gabetta Andrés Gabetta

CD, He alsorecords for Sony Classical.Hislatest Quartet. Mosaïque regular musicalpartnerChristophe Coinandhis prize for works by Haydn performed with Concertos andaChocdu MondedelaMusique the BerlinPhilharmonie,amongothers, aswell Prinzregententheater, theZurichTonhalle and der Wien,Baden-Baden Festspielhaus, Munich’s in Paris, theHamburg Musikhalle,Theater an Salle Gaveau andThéâtre desChamps-Élysées appearances attheAmsterdam Concertgebouw, 2010, andhasalready made acclaimed guest The ensemblewas established inDecember studio. original instruments,both inconcertandthe perform Baroque andearlyClassicalmusicon musicians from thesamemusicalbackground and ahand-picked team of highlytalented she, herbrother, concertmaster Andrés Gabetta, to make oneof hermusicaldreams cometrue: The CappellaGabetta hasenabledSolGabetta Cappella Gabetta from 1727. performs onaVenetian Petrus Guarnerius violin professor attheMontbéliard Conservatoire. He Andrés Gabetta holdsateaching positionas FrancescaCuzzoni. legendary primadonnasFaustina Bordoni and Simone Kermes, explores therivalry between plaudits for thesediscs, including and Vivaldi. Cappella Gabetta hasreceived many explored repertoire by Ragazzi, Umstatt, Timmer at theHabsburg Court concertos (both on Sony Classical). With virtuoso GáborBoldoczkiperforming Vivaldi and featuring VivicaGenauxandSimoneKermes, (Deutsche HarmoniaMundi); A Tribute to Faustina Bordoni Gabetta onSony Classical; include aseriesof Vivaldi celloconcertos withSol Other highlightsintheensemble’sdiscography Cecilia &Sol:Dolceduello be found onCappellaGabetta’s latest recording: Much of themusicbeingperformed tonight can Music andRheingau. Menuhin, Schleswig-Holstein, Lyon Baroque as atsuchillustriousfestivals asBremen, Gstaad Rival Queens Tromba Veneziana , featuring VivicaGenauxand

(DHM), the ensemble (DHM),theensemble , featuring the trumpet , featuring thetrumpet , just released on Decca. , just released on Decca.

with with VivicaGenaux Rival Queens Gramophone Music Music , ’s ’s Holger Talinski Alice Bisanti Bisanti Alice Ernest Braucher Anaïs Soucaille Juliana Georgieva Francesco Colletti Violin 2 Roberto Rutkauskas Boris Begelman Andrés Gabetta Violin 1 Cappella Gabetta ,trumpeter GáborBoldoczki,violinist recording projects, includingthesoprano and vocalists to participate initsconcertsand extent, beeninviting distinguishedinstrumentalists The CappellaGabetta has,to anincreasing a numberof leading radio stations. ‘Recording of theMonth’and‘CDof theweek’ on Cappella Gabetta Nasello Pedro Castro Diego Nadra Oboe Ján Krigovský Mara Miribung Balázs Maté Cello Kermes andJuliaLezhneva. Stefano Pietrodarchi, andthe Simone Franco Fagioli, thebandoneonplayer Mario Plans includetours withthecountertenor Coin. Maurice Steger andBaroque cellistChristophe Giuliano Carmignola,Baroque recorder player Dirk Börner Harpsichord Eduardo Egüez Guitar Antonio Lagares Abeal Konstantin Timokhine Horn

15 About the performers Baroque Singers A5monoprogramme ad.indd1 Christopher Purves Chris Gloag 16 Franco Fagioli Stephan Boehme barbican.org.uk/classical nowBook at ensemble Arcangelo by virtuosic accompanied the dramatic world of Handel, The brilliant baritone explores sings Handel Purves Christopher Sun 7Jan with a distinctly Italian flavour Italian distinctly a with programme Baroque a performs charismatic The Handel Vivaldi sings Franco Fagioli Mon 4JunMon 24/11/2017 10:51