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Bravissima! & WEALTH CREATION SOLUTIONS CRAFTED FINANCIAL PLANNING Bravissima! & WEALTH CREATION SOLUTIONS MASTER 9 Thursday INTERVAL 15 August 7.30pm Duration 20 mins Federation Concert Hall MOZART Hobart Mi tradì, from Don Giovanni Duration 4 mins Bertrand de Billy conductor MOZART Nicole Car soprano Come scoglio, from Così fan tutte Duration 6 mins HAYDN Symphony No 49, La passione MOZART Adagio Symphony No 39 Allegro di molto Adagio – Allegro Menuet e Trio Andante con moto Finale (Presto) Menuetto (Allegretto) – Trio – Menuetto Duration 24 mins Allegro Duration 29 mins MOZART Chi sa qual sia This concert will end at approximately Duration 3 mins 9.30pm. BEETHOVEN Ah, perfido Supported by Duration 12 mins 03 6294 0000 | UNICAWEALTH.COM.AU Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 29 Joseph Haydn (1732-1809) Symphony No 49 in F minor, occasionally verges on outright La passione irrationality.’ Adagio The composer’s subtle pursuit of Allegro di molto thematic unity is to be seen in the very Menuet e Trio opening phrase of the first movement, Bertrand de Billy studied music in Paris and Australian soprano Nicole Car performs at Finale (Presto) where the leaden progression of notes moving ever so slightly up and down was an orchestral player prior to pursuing such prestigious venues as the Royal Opera The designation La passione and the wide from C provides the core material from a career in conducting. He was First House Covent Garden, Semperoper Dresden circulation achieved by this symphony which, as HC Robbins Landon observes, in the courts and monasteries of late Kapellmeister and Deputy Music Director and Paris Opera. Recent appearances Haydn will develop the themes of all 18th-century Europe suggest, as does the four movements: C-D flat-B flat-C. The at the Anhaltisches Theatre in Dessau from have included Micäela in Carmen at Opéra extraordinary music itself, some special opening Adagio is much the biggest 1993 to 1995, and between 1996 and Bastille, Tatiana in Eugene Onegin with the purpose, presumably related to Holy movement, and arguably the spiritual 1998 held the same position at the Vienna Week. The title, however, is unauthentic, core of the symphony. Yet, unlike Deutsche Oper, Berlin, and the Bavarian and there is no evidence of any such some of Haydn’s earlier ‘church sonata’ Volksoper. From 1999 to 2004 he was Music State Opera in Munich (a role she will also intent either within the music or in any symphonies, La passione maintains its Director at the Gran Teatre del Liceu in extra-musical documentation. What can emotional and spiritual force, without sing in Montreal next year), as Marguerite in Barcelona and from 2002 to 2010 Music be said with certainty is that this was the tailing off, through four equally inspired Faust and Violetta in La traviata in Marseilles last, and undoubtedly the greatest, of movements. Director of the Radio Symphony Orchestra in seven symphonies Haydn composed in and as Mimì in La bohème, her Metropolitan The wildly leaping melody of the Vienna. Bertrand de Billy was principal guest the archaic ‘church sonata’ form, with second movement is swept forward Opera debut. Nicole Car has performed of the Orchestre de Chambre de Lausanne a slow opening movement. While the on an irresistible tide in the bass, for Opera Australia a number of times, ‘church sonata’ symphonies have no impotent anguish continuing to lash out (2013-2016) and has been principal guest overtly religious intent, they are essentially including the title roles in La traviata, Thaïs spasmodically after the first fierce passion conductor of the Dresden Philharmonic. solemn works or, as in the present case, is exhausted. The minuet – though one Recent appearances have included concerts and Luisa Miller (for which she won her first bleak, tense and often anguished. would scarcely think of dancing to it – in the Elbphilharmonie Hamburg, and Helpmann Award). CDs include Heroines Written in 1768, La passione is an early is dogged, subdued, beginning not with but archetypal product of the composer’s Haydn’s customary springy upbeat but with the Orchestre National de Belgique, with Richard Tognetti and the Australian so-called Sturm und Drang (Storm and on a mechanical, hang-dog downbeat. Lausanne Chamber Orchestra, Royal Danish Chamber Orchestra (ACO). Recent concert Stress) period. Although the term Sturm The finale is a flight from relentless nightmare, not destined for glory in Orchestra, Iceland Symphony Orchestra, appearances include performing with the und Drang misleadingly implies a link with the somewhat later Sturm und imposing cadences at the end but simply Vienna Symphony Orchestra, Hungarian ACO at the Barbican in London. After Drang movement in literature and art thankful to get there. National Philharmonic and Choir, and the completing her Bachelor of Music at the (which sprang up around the writings of La passione lacks none of the sureness Middle-German Radio Symphony Orchestra Goethe and Schiller from about 1773), of touch occasionally missing from Victorian College of the Arts, Nicole Car it nevertheless aptly characterises the Leipzig. In opera, he has recently conducted Haydn’s other Sturm und Drang music. won the 2007 Herald-Sun Aria. She was the passionate and emotional intensity of some The composer is, as Landon puts it, Verdi’s Otello at the Opéra National de of the music that flowed from Haydn’s pen 2012 winner of the ASC Opera Awards and ‘passing through the eye of the storm’ Paris, Bastille, and Puccini’s Il trittico in Japan between about 1766 and 1773. (a storm effectively created by himself). the 2013 winner of the international Neue and at the Metropolitan Opera, New York. Sturm und Drang in Haydn’s symphonies That experience was to prove crucial in Stimmen competition in Germany. Her shares with the church sonata form a the long-term development of his own He has a broad repertoire from Bach to music and the music of his successors. professional operatic debut took place in widespread use of minor or remote keys, world premieres. His extensive discography frequent polyphonic and contrapuntal Abridged from a note by Anthony Cane includes the 2017 release Jonas Kaufmann 2009 performing Donna Anna in Victorian textures, dynamic contrasts, and spare, © 1989/2001 L’Opera with the Bavarian State Orchestra. Opera’s Don Giovanni. She made her unadorned instrumentation. The Sturm und Drang symphonies are often The Tasmanian Symphony Orchestra first Among his awards is France’s Chevalier of the American debut in Dallas in 2014 as the tragic, sombre, even violent. And, as performed this work in New Norfolk and Huonville on 23 and 24 March 1976 and, most recently, with National Order of the Legion of Honour. Countess in The Marriage of Figaro. James Webster asserts, ‘Haydn’s ever- Oliver Gooch in Hobart on 30 March 2014, as part present tendency towards eccentricity of Hobart Baroque. 30 31 Wolfgang Amadeus Mozart affections remain undiminished. Judging mood, dynamic and vocal range. These at her razor-sharp pitch control, so from the many leaps, both large and sharp expressive contrasts continue challenging is much of the vocal writing (1756-1791) small, in the vocal line and the recurrent right to the end of the aria – no sooner in the aria’s digressive middle section. use of filigree scale passages, Louise do words and music settle into one Chi sa qual sia, K582 In Così fan tutte, Fiordiligi and her sister Villeneuve was blessed with an agile emotional state when suddenly they Dorabella are unwitting participants in voice (she would go on to create the erupt into its antithesis. This is indeed a an experiment: two mysterious, exotic Ludwig van Beethoven role of Dorabella in Così fan tutte the tormented heart. Precisely for this reason looking men have suddenly appeared (1770-1827) following year). But quite apart from ‘Ah, perfido’ provides rich expressive at their house, mere minutes after the beauty of the vocal writing, the aria material for the singer. Beethoven, it the sisters’ fiancés, who are soldiers, Ah, perfido, Op 65 offers many riches in its treatment of ought to be noted, was a mere 25 years have left for the front. Will Fiordiligi woodwinds, even though it is not a large of age when he wrote this scena. His and Dorabella remain faithful to their Wolfgang Amadeus Mozart wind section – clarinets, bassoons and single opera, Fidelio, was nearly ten absent fiancés or will they succumb horns only. Mozart was never one to years off. Particularly pertinent to this to the charms of the newcomers? The Mi tradì, from Don Giovanni write perfunctory parts for the winds and evening’s concert is that ‘Ah, perfido’ was strangers, who are in fact the fiancés in Come scoglio, from Così fan tutte here the woodwind instruments playfully given its first professional performance (in disguise (the military call-up is a ruse), November 1796) by distinguished Czech Strange as it may seem, the aria interact with the voice and bring their make every effort to seduce the two soprano Josepha Dušek (1754-1824), a ‘Chi sa qual sia’, which was composed own distinctive colours to this delectable women, but their overtures are initially singer who was known to Mozart and for by Mozart in 1789, was written for aria. met with fierce resistance. In the aria whom Mozart composed a number of ‘Come scoglio’, which comes from Act I, performance in an opera by another Beethoven’s ‘Ah, perfido’ is altogether a concert arias. composer altogether. It was composed grander construct than ‘Chi sa qual sia’.
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