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La Cetra Andrea Marcon David Hansen Robin Johannsen Kangmin Justin Kim Jenny Högström Silke Gäng Francesca Ascioti Luca Tittoto La Cetra Barockorchester & Vokalensemble Basel Andrea Marcon 1 George Frideric Handel (1685 – 1759) 18 Aria “Del nume Lieo” - Marte 3. 13 Parnasso in festa, per gli sponsali di Teti e Peleo HWV 73 19 Aria “Sciolga dunque al ballo” - Apollo 2. 58 20 Coro e Soli “S’accenda pur di festa il cor’’ 2. 41 CD 1 21 Coro “Replicati al ballo” 1. 02 1 Ouverture 3. 40 Total playing time CD 1: 44. 12 Parte Prima CD 2 2 Aria ‘’Verginelle dotte e belle“ - Clio 2. 36 3 Coro “Corriamo pronti ad ubbidir“ 0. 48 Parte Seconda 4 Recitativo “Germane, figlio amato” 1. 18 1 Soli e Coro „Nel petto sento un certo ardor“ 3. 03 5 Solo e Coro “Deh! cantate un bell’amor” - Apollo 2. 49 2 Recitativo “Qual tetra nube” - Apollo 0. 12 6 Recitativo “Ma prima che s’avanzi” - Apollo 0. 20 3 Aria “Torni pure un bel splendore” - Apollo 4. 11 7 Aria “Spira al sen celeste ardore’’ - Orfeo 4. 16 4 Recitativo “Ognun mi siegua” - Clio 0. 10 8 Aria “Gran Tonante” - Apollo 4. 23 5 Aria “Nel spiegar sua voce al canto” - Clio 8. 19 9 Coro ‘’Già vien da lui il nostro ben’’ 1. 32 6 Recitativo “E non s’udiran mai” - Cloride 0. 25 10 Recitativo “Spettacolo gradito” - Clio 0. 48 7 Coro “Oh quanto bella gloria” 2. 51 11 Aria “Con un vezzo lusinghiero” - Clio 1. 34 8 Aria “Tra sentier di amene selve” - Cloride 4. 40 12 Recitativo ”Rimembranza gradita” - Apollo 0. 19 9 Coro “Oh quanto bella gloria” 1. 05 13 Duetto “Sin le grazie nel bel volto” - Apollo, Clio 2. 48 10 Recitativo “Che mai facesti, Orfeo?” - Calliope 0. 27 14 Recitativo “Ma di sì belle fiamme” - Clio 0. 36 11 Aria “Già le furie vedo ancor” - Calliope 1. 46 15 Aria ‘’Quanto breve è il godimento“ - Clio 4. 14 12 Accompagnato “Dopo d’aver perduto” - Orfeo 0. 51 16 Recitativo “Vada in oblio memoria” - Apollo 0. 42 13 Aria e Coro “Ho perso il caro ben” - Orfeo 7. 23 17 Coro “Cantiamo a Bacco” 1. 22 14 Recitativo “Figlio, diletto Orfeo” - Apollo 0. 35 2 3 15 Duetto “Cangia in gioia il tuo dolor” - Apollo, Clio 5. 15 David Hansen, Countertenor 16 Recitativo “Di Nettuno seguaci” - Apollo 0. 29 Apollo, God of music, Orfeo’s father 17 Coro “Coralli e perle” 1. 48 Robin Johannsen, Soprano Parte Terza Clio, Muse of history 18 Sinfonia 0. 40 19 Recitativo “Io che degli avi eccelsi” - Marte 0. 27 Kangmin Justin Kim, Countertenor 20 Coro e Solo “Si parli ancor di trionfar” - Marte 2. 42 Orfeo, Singer and poet 21 Recitativo “Oh! stirpe gloriosa” - Orfeo 0. 16 22 Aria “Da sorgente rilucente” - Orfeo 2. 51 Jenny Högström, Soprano 23 Recitativo “Dall’opre illustri” - Calliope 0. 13 Calliope, Muse of epic poetry, Orfeo’s mother 24 Aria “Sempre aspira eccelso core” - Calliope 1. 57 25 Recitativo “Delle dotte germane” - Apollo 0. 40 Silke Gäng, Mezzosoprano 26 Aria e Coro “Non tardate, fauni, ancora” - Apollo 5. 56 Cloride, a huntress 27 Recitativo “Sia degli eccelsi sposi” - Clio 0. 14 28 Aria “Circondin lor vite le grazie fiorite” - Clio 4. 25 Francesca Ascioti, Alto 29 Recitativo “Con un spirto divoto” - Euterpe 0. 17 Euterpe, Muse of lyric poetry and the flute 30 Aria “Han mente eroica” - Euterpe 3. 59 31 Recitativo “Di virtù, di valor” - Apollo 0. 24 Luca Tittoto, Bass 32 Solo e Coro “Lunga serie d’alti eroi” - Apollo 3. 36 Marte, God of war Total playing time CD 2: 72. 23 La Cetra Barockorchester & Vokalensemble Basel Carlos Federico Sepúlveda, Chorus Master Conducted by Andrea Marcon 4 5 La Cetra Barockorchester & Vokalensemble Basel Conducted by Andrea Marcon First Violin Violoncello Horn Chorus Master Katharina Heutjer, leader Jonathan Pešek, principal Alessandro Denabian Carlos Federico Sepúlveda Johannes Frisch Daniel Rosin Elisa Bognetti Christoph Rudolf Amélie Chemin Sopranos Tenors Cecilie Valter Trumpet Alice Borciani Matthias Deger Sonoko Asabuki Violone Andreas Lackner Annie Dufresne Dan Dunkelblum Fred Uhlig, principal Thomas Steinbrucker Jenny Högström Tiago Pinheiro de Oliveira Second Violin Marco Lo Cicero Lia Andres Raphael Höhn Eva Saladin, principal Timpani Agnes Waibel Akinobu Ono Petra Melicharek Traverso Philip Tarr Lina Marcela Lopez Ildikó Sajgó Sarah Giger Katya Polin Natalia Herden Lute Altos Basses Daniele Caminiti Silke Gäng Ismael Arróniz, Solo Viola Oboe Josias Rodriguez Gandara Dina König Carlos Federico Sepúlveda Joanna Bilger, principal Janine Jonker David Feldman Francesc Marti Ortega Sarah Giger Natalia Herden Harpsichord Tobias Knaus Csongor Szántó Michèle Party Andrea Marcon Guglielmo Buonsanti Bassoon Joan Boronat Sanz Breno Quinderé Giulia Genini Letizia Viola Organ Andrea Buccarella 6 7 La Cetra Barockorchester & Vokalensemble Basel Andrea Marcon 8 9 George Frideric Handel The wedding of the King’s eldest Peleus. There is one standing Scene the bridegroom. Although most of his Parnasso in festa, per gli daughter with William of Orange was which is Mount Parnassus, on which company of singers had moved over to originally intended to take place in the sit Apollo and the Muses, assisted with the rival undertaking, the „Opera of the sponsali di Teti e Peleo autumn of 1733, but had to be deferred other proper Characters emblematically Nobility“, Handel succeeded in engaging HWV 73 because of continuing delays and a dress’d, the whole Appearance being for the occasion new top-class singers. longer illness of the Prince. While the extreamly magnificent; nor is the The word-book lists the cast of the On 14 March 1734 the wedding took place anthem This is the day had already Musick less entertaining, being contriv’d premiere of Parnasso in festa: between Princess Anne (1707–1759), the been rehearsed in the presence of the with so great a Variety, that all sorts Princess Royal, and the Dutch Prince royal family in November 1733, Handel of Musick are properly introduc’d in Apollo Giovanni Carestini, mezzo-soprano (castrato) William IV of Orange (1711–1751). Handel probably did not compose Parnasso in single Songs, Duettos, &c. intermix’d contributed music for the marriage festa until the beginning of 1734, when with Chorus’s something in the Stile of Clio Anna Maria Strada del Pò, soprano ceremony in the French Chapel in he decided to celebrate the royal couple Oratorios. People have been waiting with St James’s Palace and also for the public with a festa teatrale. On 11 March 1734 Impatience for this Piece, the celebrated Orfeo Carlo Scalzi, soprano (castrato) celebrations. For the marriage ceremony The Daily Advertiser advertised the Mr Handel having exerted his utmost he composed the anthem This is the day premiere of the Italian serenata: Skill in it. Calliope which the Lord has made, HWV 262, and Margherita Durastanti, alto for the theatre on the eve of the ceremony We hear, amongst other publick According to this information the Cloride the serenata Parnasso in festa per gli Diversions that are prepar’d for the premiere on Wednesday 13 March 1734 Maria Caterina Negri, alto sponsali di Teti e Peleo, HWV 73. In both Solemnity of the approaching Nuptials, in the King’s Theatre in the Haymarket Euterpe works the music was mostly derived from there is to be perform’d, at the Opera- took place semi-staged, that is in front Rosa Negri, mezzo-soprano the English oratorio Athalia, HWV 52, which house in the Hay-Market, on Wednesday of a single set with little action on the Marte had been performed in Oxford on 10 July next, a Serenata, call’d, Parnasso in stage. The performance was attended Gustavus Waltz, bass 1733, and at the time of the royal marriage Festa: The Fable is Apollo and the Muses by the King and Queen, the engaged had not yet been heard in London. celebrating the Marriage of Thetis and couple and the brothers and sisters of English 11 The serenata was well received by the which a new text was underlaid. Only first part of the serenata Handel used and Silla, HWV 10, of 1713). The poet public – possibly one reason why Handel nine of the total of 33 numbers plus movements from Athalia (nos. 1–11); was probably Giacomo Rossi, who took over several movements into his the overture were newly composed, from no. 12 he alternated systematically since 1710 had worked several times for opera Il pastor fido, HWV 8c, which was namely the A-section of the overture, between newly-composed movements Handel (Rinaldo, HWV 7a, Il pastor fido, revived and performed a little later. The and nos. 12, 14, 16, 18, 20, 22, 26 and and borrowings. This characteristic is HWV 8a, Silla, HWV 10), and certainly Daily Advertiser reported the next day: 30. Handel borrowed 20 of the 33 reflected in the principal sources: there reworked in 1731 the text for the revival numbers (nos. 1–11, 15, 17, 21, 23–25, is no complete composition autograph, of Rinaldo, HWV 7b. Last Night Mr. Handell’s new Serenata 27, 29, 31) from his English-language but there are composition autographs [...] was received with the greatest oratorio Athalia, which was performed for three of the new movements. The Unlike Handel’s operas there is no Applause; the Piece containing the for the first time in the Sheldonian performing score in the Staats- und plot in Parnasso in festa: it consists most exquisite Harmony ever furnish’d Theatre in Oxford on 10 July 1733, on Universitätsbibliothek in Hamburg is of reflective dialogues, rich in images from the Stage, and the Disposition of the occasion of the ceremonies of the a joint operation by Handel and his taken from nature, which appeal to the Performers being contrived in a very “Public Act”, the award of academic principal copyist, John Christopher morality and virtue, which are expressed grand and magnificent Manner.
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