Mary-Ellen Nesi Mezzosoprano

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Mary-Ellen Nesi Mezzosoprano CV CV PARNASSUS ARTS PRODUCTIONS Mary-Ellen Nesi Mezzosoprano A leading singer worldwide, Greek mezzo-so- prano Mary-Ellen Nesi has appeared at major international venues, including Bayerische Staatsoper, Carnegie Hall, Royal Opera House Covent Garden, Frankfurt Opera, Théâtre de Champs-Elysées, Avery Fisher Hall (NY), Strathmore Hall (Washington DC), Semperop- er (Dresden), Royal Opera of Versailles, Chun- gmu Art Hall (Seoul), Opéra National du Rhin, Theater an der Wien, Place des Arts (Mont- real), Concertgebouw, Opéra de Nice, Opera of Lausanne, Arriaga (Bilbao), Teatro de la Maes- tranza (Seville), Teatro Olimpico (Rome), Sao Carlos Opera (Lisbon), the Operas of Florence, Ferrara, Modena and Piacenza, the Wiesbaden Opera, Caio Melisso (Spoleto), the Baden Baden Festpielhaus. She has also appeared in renowned festivals around the world and she was founder and artistic director of the Opera Festival of Ancient Corinth (2003-2009). Mary-Ellen’s main focus lies in the baroque, classical and belcanto repertoire. She has performed more than 35 title and principal roles in operas by Monteverdi, Handel, Vivaldi, A.Scarlatti, Pergolesi, Porpora, Gluck, Paisiel- lo, Mozart, Rossini, Bizet, Donizetti, Bellini, R.Strauss, Verdi, Humperdinck, Mascagni, Massenet and contemporary composers. She has recorded Handel’s operas Oreste, Arianna in Creta, Tamerlano (ECHO KLASSIK 2008), Giulio Cesare, Alessando Severo, under George Petrou and Gluck’s Il Trionfo di Clelia, under G.Sigismondi (MDG), A.Scarlatti’s Tolo- meo e Alessandro(Archiv), Handel’s Berenice (Virgin) and a solo CD Salve Regina (DHM) under Alan Curtis, Vivaldi’s Il Farnace, under Diego Fasolis (Virgin), Christmas at San Marco under Peter Kopp (Berlin Classics). She per- forms Antiope in the DVD of Ercole su’l Ter- 1 CV PARNASSUS ARTS PRODUCTIONS modonte, Polinesso in the DVD of Ariodante, Mary-Ellen Nesi was born in Montreal, Cana- Mitrena in the DVD of Motezuma under Alan da, and raised in Greece. She studied singing Curtis and Farnace (title role) under F.M with Misa Ikeuchi and then Frangiskos Voutsi- Sardelli (Dynamic). Her recent recordings in- nos, Kostas Pascalis in Athens and Arrigo Pola clude Le Nozze di Figaro under Theodor Cur- in Modena. rentzis and The Baroque Divas, under George Petrou (both by Sony). www.maryellennesi.com Management Georg Lang A - 1060 Vienna, Austria Telefon: +43(0) 1 8904151 Fotos: Irini Michopoulou E-Mail: [email protected] SEASON 2016/2017 - WE UPDATE OUR BIOGRAPHIES REGULARLY. 2 PLEASE, DO NOT USE PREVIOUSLY DATED MATERIAL..

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NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVI, Number 1 April 2001 HANDEL’S SCIPIONE AND THE NEUTRALIZATION OF POLITICS1 This is an essay about possibilities, an observation of what Handel and his librettist wrote rather than what was finally performed. Handel composed his opera Scipione in 1726 for a text by Paolo Rolli, who adapted a libretto by Antonio Salvi written for a Medici performance in Livorno in 1704.2 Handel’s and Rolli’s version was performed at the King’s Theater in the Haymarket for the Royal Academy of Music.3 The opera has suffered in critical esteem not so much from its own failings as from its proximity in time to the great productions of Giulio Cesare, Tamerlano and Rodelinda which preceeded it. I would like to argue, however, that even in this opera Handel and Rolli were working on an interesting idea: a presentation of Roman historical material in ways that anticipated the ethical discussions that we now associate with the oratorios. If that potential was undermined by what was finally put on stage, it is nevertheless interesting to observe what might have been. Narrative material from the Roman republic was potentially difficult on the English stage of the early eighteenth century. The conquering heroes of the late Roman republic particularly—Sulla, Pompey, and especially Caesar—might most easily be associated with the monarch; but these historical figures were also tainted by the fact that they could be identified as tyrants responsible for demolishing republican freedom. Addison’s Cato had caused a virtual riot in the theatre in 1713, as Whigs and Tories vied to distance themselves from the (unseen) villain Caesar and claim the play’s stoic hero Cato as their own.
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Handel Newsletter-2/2001 Pdf
NEWSLETTER of The American Handel Society Volume XV, Number 3 December 2000 MHF 2001 The 2001 Maryland Handel Festival & Conference marks the conclusion of the Festival’s twenty-year project of performing all Handel’s dramatic English oratorios in order of composition. With performances of THEODORA, May 4 and JEPHTHA, May 6 conducted by Paul Traver, we welcome back to the MHF stage soloists from previous seasons including: Linda Mabbs and Sherri Karam, soprano; Lorie Gratis and Leneida Crawford, mezzo-soprano; Derek Lee Ragin, countertenor; Charles Reid, tenor; Philip Collister, bass; with the Smithsonian Chamber Orchestra, Kenneth Slowik, Music Director; the University of Maryland Chorus, Edward Maclary, Music Director; and The Maryland Boys Choir, Joan Macfarland, director. As always, the American Handel Society and Maryland Handel Festival will join forces to present a scholarly conference, which this year brings together internationally renowned scholars from Canada, England, France, Germany, and the United States, and which will consist of four conference sessions devoted to various aspects of Handel studies today. Special events include the Howard Serwer Lecture (formerly the American Handel Society Lecture), to be presented on Saturday May 5 by the renowned HANDEL IN LONDON scholar Nicholas Temperley, the American Handel Society Dinner, later that same evening, and the pre- By 2002 there will be at least six different institutions concert lecture on Sunday May 6. in London involved with Handel: The conference and performances will take place in 1. British Library the new Clarice Smith Performing Arts Center at the University of Maryland; lodgings will once again be located at the Inn and Conference Center, University The British Library, holding the main collection of of Maryland University College, where the Society Handel autographs, is (together with the Royal dinner will also take place.
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Christophe Rousset and Les Talens Lyriques Unearth the Impropriety of the Gods in a Staging of Legrenzi’S La Divisione Del Mondo
Christophe Rousset and Les Talens Lyriques unearth the impropriety of the Gods in a staging of Legrenzi’s La Divisione del Mondo 8-16 February 1, 3 March 9 March Strasbourg Mulhouse Colmar 20-27 March Legrenzi La 13, 14 April Nancy Divisione del Mondo Versailles “La Divisione del Mondo shows us a most complicated and modern dysfunctional family - the Roman Gods seem to offer a hilarious mirror of our human misconduct and failures.” - Jetske Mijnssen Christophe Rousset and Les Talens Lyriques tour Giovanni Legrenzi’s rarely-performed La Divisione del Mondo in France from 8 February to 14 April. Directed by Jetske Mijnssen, fifteen performances will be given from Strasbourg to Versailles, via Mulhouse, Colmar, and Nancy, in a co-production with the Opéra national du Rhin and the Opéra national de Lorraine. Seen in its first modern staging in France, the revival of La Divisione del Mondo forms part of Les Talens Lyriques’ season theme, The Temptation of Italy, tracking Italian influences on French writing. Venetian opera had influenced French operatic tradition since its inception, and the only surviving score for La Divisione del Mondo is found in the Bibliothèque nationale de Paris. First performed in a lavish staging with great success at the Venetian Teatro San Salvador in 1675, La Divisione del Mondo depicts the division of the world following the victory of the Olympian gods over the Titan deities: the world inhabited by Madeline Miller’s novel Circe, recently a runaway best-seller in both the New York Times and The Sunday Times. Far from being a banal tale of morals and virtues, instead it unearths dreadful impropriety, with the goddess Venus leading all the other gods (with the exception of Saturn) through a series of moral temptations into debauchery.
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Rodelinda Regina De’Longobardi
George Frideric Handel Rodelinda Regina de’Longobardi CONDUCTOR Opera in three acts Harry Bicket Libretto by Nicola Francesco Haym, adapted from PRODUCTION Antonio Salvi’s work of the same name Stephen Wadsworth Saturday, December 3, 2011, 12:30–4:35 pm SET DESIGNER Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER The production of Rodelinda was made possible Peter Kaczorowski by a generous gift of John Van Meter. Additional funding was received from Mercedes and Sid Bass, and the Hermione Foundation. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2011–12 Season The 20th Metropolitan Opera performance of George Frideric Handel’s Rodelinda Regina de’Longobardi This performance conductor is being Harry Bicket broadcast live over The cast in order of appearance Toll Brothers– Metropolitan Rodelinda, Queen of Milan, wife of Bertarido Opera Renée Fleming International Radio Network, Grimoaldo, usurper of Milan, betrothed to Eduige sponsored by Joseph Kaiser Toll Brothers, America’s luxury Garibaldo, counselor to Grimoaldo homebuilder®, Shenyang * with generous long-term Eduige, Bertarido’s sister, bethrothed to Grimoaldo support from Stephanie Blythe * The Annenberg Bertarido, King of Milan, believed to be dead Foundation, the Andreas Scholl Vincent A. Stabile Endowment for Unulfo, counselor to Grimoaldo, secretly loyal Broadcast Media, to Bertarido and contributions Iestyn Davies from listeners worldwide. Flavio, son of Rodelinda and Bertarido Moritz Linn This performance is also being continuo: broadcast live on Harry Bicket, harpsichord recitative Metropolitan Opera Bradley Brookshire, harpsichord ripieno Radio on SiriusXM David Heiss, cello , theorbo and baroque guitar channel 74. Daniel Swenberg Saturday, December 3, 2011, 12:30–4:35 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
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Partenope Cast Biographies
Partenope Cast Biographies English soprano Louise Alder makes her San Francisco Opera debut as the title role in Partenope. Louise won best Young Singer at International Opera Awards 2017 and represented England in BBC Cardiff Singer of the World Competition 2017, winning the third round of the competition and the Dame Joan Sutherland Audience Prize. Recent opera engagements include Gretel (Hänsel und Gretel) at Bayerische Staatsoper, Sophie (Der Rosenkavalier) with Glyndebourne Festival Opera and Welsh National Opera, Pamina (Die Zauberflöte) and Ilia (Idomeneo) for Garsington Opera, Eurydice in Rossi's Orpheus at the Wanamaker Globe for The Royal Opera, Zerlina (Don Giovanni) with Glyndebourne, Gilda (Rigoletto), Vixen Sharp Ears (Cunning Little Vixen), Sophie (Werther), Gretel (Hänsel und Gretel), Cleopatra (Giulio Cesare in Egitto), Atalanta (Xerxes), Susanna (Le Nozze di Figaro), Pamina (Die Zauberflöte), Despina (Cosi fan Tutte), Frasquita (Carmen) with Oper Frankfurt. Her concert performances include Sophie (Der Rosenkavalier) at the BBC Proms, Zélide (Rameau’s Zaïs, UK premiere) with the Orchestra of the Age of Enlightenment and appearances in Edinburgh, Munich, Budapest and Moscow, among others. She has sung in recital at the Brighton Festival and in venues including the Musikverein Graz, Frankfurt Opera, the Barber Institute, Birmingham, and the Southbank Centre. Her awards include the 2014 John Christie Award, and in 2017 she was named Young Singer of the Year at the International Opera Awards. Future engagements include the title role in Semele with John Eliot Gardiner at La Scala Milan, Philharmonie de Paris and Palau de la Música Barcelona, title role in La Calisto with Ivor Bolton and Teatro Real Madrid, Romilda (Xerxes), Monica (The Medium) with Oper Frankfurt, The Messiah at the New York Philharmonic and further debuts with Canadian Opera Company, English National Opera and returns to the Royal Opera House, Teatro Real Madrid and Glyndebourne Festival Opera.
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Tamerlano: Comptes-Rendus / Reviews / Kritiken Pt1 FNAC, 02 04 2016
Tamerlano: comptes-rendus / reviews / Kritiken pt1 FNAC, 02_04_2016 Les perles Le Tamerlano qu'il vous faut 118 vues Une nouvelle version du Tamerlano de Georg Friedrich Haendel vient de sortir chez Naïve. C'est une fois de plus une initiative du contre-ténor Max-Emanuel Cencic et de Parnassus Arts Productions à qui nous devons notamment la re-création du magnifique Artaserse de Leonardo Vinci (maintenant disponible aussi en DVD) et d'un Alessandro de Haendel multi récompensé. Pourquoi une nouvelle version de Tamerlano dont il existe déjà plusieurs enregistrements, alors que d'autres opéras baroques sont encore inédits ? Quand on y regarde bien, peu de versions se rapprochent de la distribution vocale choisie par Haendel. Les versions de Malgoire en 1984 et de Gardiner en 1991 sont les seules dans lesquelles les deux rôles de Bajazet et d'Andronico soient tenus par des contre-ténors (des castrats à l'origine). Par ailleurs, Max-Emanuel Cencic, qui a chanté sur scène Tamerlano et Andronico en compagnie de certains des chanteurs choisis ici, souhaitait concrétiser ce travail scénique par un enregistrement. Les chanteurs sont accompagnés par l'ensemble Il Pomo d'Oro dirigé par Riccardo Minasi, partenaires de Cencic dans le récital Venezia. Tamerlano est un drame lyrique créé en le 31 octobre 1724 au King's Theater de Londres, la même année que le célèbre Giulio Cesare in Egitto, donné quelques mois plus tôt dans le même lieu. L'opéra reprend un thème assez utilisé à une époque où les turqueries étaient en vogue, la mort tragique du sultan turc Bajazet, vaincu par le souverain mongol Tamerlano.
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Oreste: Power Corrupts at the 2018 Handel Festival Halle
12 Opera con Brio, LLC June 2018 Opera con Brio Richard B. Beams Oreste: Power Corrupts Handel Festival Halle 2018 Handel’s 1734 pasticcio Oreste, the first of his three personified. The following year I witnessed a blackly so-called “pasticcio operas,” is a piece of relative rarity, comic, blood-splattered production by Covent Garden’s in spite of a plethora of first-rate music. Indeed after the Young Artists Program at historic Wilton’s Music Hall successful short run of three performances in 1734 at the that went overboard with its contemporary take and much newly-opened Theatre Royal, Covent Garden, it vanished gratuitous violence. By any measure, however, this 2018 from the stage for almost two-and-a-half centuries until it Halle revival was the most compelling, especially in light was performed again in 1988 in Bad Lauchstädt, near of the Festival’s central theme, “Foreign Worlds.” As Handel’s birthplace in Halle, as part of the 37th Handel such, the production zeroed in on the fear of the foreign Festival there. Now some thirty years later in 2018 it has that invites insular and protective – or in the extreme, returned to this illustrious Festival, compliments of the power-hungry – behavior, providing a powerful reflection Bach Consort Wien and the Youth Ensemble of Theater of today’s world. en der Wien. Performed in the intimate Carl Maria-von- Weber Theater Bernburg, some 60 km or so up the River The music is masterful. Although a “pasticcio,’ this Saale, the scintillating performance and powerful is no second-rate work.
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IL POMO D'oro the Ensemble Il Pomo D'oro Was Founded in 2012. It
IL POMO D'ORO The ensemble il pomo d'oro was founded in 2012. It is characterized by an authentic, dynamic interpretation of operas and instrumental works from the Baroque and Classical period. The musicians are all well-known specialists and are among the best in the field of historical performance practice. The ensemble so far worked with the conductors Riccardo Minasi, Maxim Emelyanychev, Stefano Montanari, George Petrou, Enrico Onofri and Francesco Corti. Concert master Zefira Valova leads the orchestra in various projects. Since 2016 Maxim Emelyanychev has been its chief conductor, and since 2019 Francesco Corti is principal guest conductor. Il pomo d'oro is a regular guest in prestigious concert halls and festivals all over Europe. After the worldwide success of the program «In War and Peace» with Joyce DiDonato, in 2020 il pomo d’oro and Maxim Emelyanychev will present the new program «My favorite things» with the American Mezzosoprano. The discography of il pomo d'oro includes several opera recordings: G. F. Händel's Agrippina, Serse, Tamerlano, Partenope and Ottone, Leonardo Vinci' s Catone in Utica, and Alessandro Stradella’s La Doriclea. It features Recitals with the countertenors Jakub Józef Orliński, Franco Fagioli, Max Emanuel Cencic, and Xavier Sabata, with mezzosopranos Ann Hallenberg and Joyce DiDonato and with sopranos Francesca Aspromonte and Emöke Barath. Among the instrumental albums the recordings of Haydn's violin and harpsichord concertos as well as a cello album with Edgar Moreau received Echo Klassik Awards in 2016. Further instrumental recordings are dedicated to the violin concertos and the harpsichord concertos by J.S.
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NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XIX, Number 1 April 2004 THE THOMAS BAKER COLLECTION In 1985 the Music Library of The University of Western Ontario acquired the bulk of the music collection of Thomas Baker (c.1708-1775) of Farnham, Surrey from the English antiquarian dealer Richard Macnutt with Burnett & Simeone. Earlier that same year what is presumed to have been the complete collection, then on deposit at the Hampshire Record Office in Winchester, was described by Richard Andrewes of Cambridge University Library in a "Catalogue of music in the Thomas Baker Collection." It contained 85 eighteenth-century printed titles (some bound together) and 10 "miscellaneous manuscripts." Macnutt described the portion of the collection he acquired in his catalogue The Music Collection of an Eighteenth Century Gentleman (Tunbridge Wells, 1985). Other buyers, including the British Library, acquired 11 of the printed titles and 4 of the manuscripts. Thomas Baker was a country gentleman and his library, which was "representative of the educated musical amateur’s tastes, include[d] works ranging from short keyboard pieces to opera" (Macnutt, i). Whether he was related to the Rev. Thomas Baker (1685-1745) who was for many years a member of the choirs of the Chapel Royal, St. Paul’s Cathedral, and Westminster Abbey, is not clear. Christoph Dumaux as Tamerlano – Spoleto Festival USA 2003 However, his collection did contain several manuscripts of Anglican Church music. TAMERLANO AT SPOLETO The portion of the Thomas Baker Collection now at The University of Western Ontario, consisting of 83 titles, is FESTIVAL USA 2003 admirably described on the Music Library’s website Composer Gian Carlo Menotti founded the Festival dei (http://www.lib.uwo.ca/music/baker.html) by Lisa Rae Due Mondi in 1958, locating it in the Umbrian hilltown of Philpott, Music Reference Librarian.
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Alcina / Tamerlano LA MONNAIE/DE MUNT
©Photo: LaMonnaie Alcina / Tamerlano LA MONNAIE/DE MUNT > OPERA 2015 HDTV Alcina Opera in three acts by George Frideric Handel filmeD aT La Monnaie/De Munt, Brussels (1735) | Anonymous libretto after Orlando furioso, in February 2015 adapted from the libretto L’isola di Alcina | tv DirecTor Myriam Hoyer (Alcina) Tamerlano Opera in three acts by George Frideric and Stephan Aubé (Tamerlano) Handel (1724) | Libretto by Nicola Francesco Haym | running Time 195’ and 190’ Alcina / Tamerlano artistic information ALCINA TAMERLANO synopsis Like Handel’s Orlando (1732) and Ariodante synopsis Tamerlano, inspired by the historical confrontation of (1734), Alcina derives from the narrative material in 1402 between Sultan Bayezid I and Timur Lenk, tells the story Ariosto’s Orlando furioso. The story of the sorceress of the clash of two strong personalities : Tamerlano as the Alcina, an initially hedonistic, manipulative woman who victor, Bajazet as the loser who has no intention of grovelling later finds herself a victim of love, fits into the genre of humbly in the dust. Following the success of Giulio Cesare in the ‘magical opera’ with numerous magical elements, but Egitto, Handel completed his highly expressive Tamerlano after Handel achieved considerable emotional authenticity in numerous revisions. The underlying tone of the work is serious ; his characterisations. This makes Alcina one of the most the composer tried to give depth to the characterisation of the deeply felt and multifaceted operas. ‘You may despise historical figures. The scene preceding the death of Bajazet – a what you like ; but you cannot contradict Handel,’ said the major part which, exceptionally, was written for a tenor – is the Irish playwright George Bernard Shaw.
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Tamerlano Synopsis
George Frideric Handel’s Tamerlano SYNOPSIS Act I Defeated by the Tartar emperor Tamerlano and his Greek ally Andronico, the Turkish sultan Bajazet tells Andronico that he would rather die than remain captive; only his love for his daughter Asteria prevents him from taking his own life. Tamerlano offers to restore Andronico to the throne of Greece, but Andronico asks to remain with Tamerlano to learn the art of war, not revealing his true motive—that he and Asteria have fallen in love. Tamerlano consents, confiding in Andronico that he loves Asteria and intends to make her his wife. He asks Andronico to seek Bajazet’s consent to the marriage, in reward for which Andronico may marry Irene, Princess of Trebizond, to whom Tamerlano himself has been betrothed. When Tamerlano reveals these plans to a stunned Asteria, she believes that Andronico has betrayed her in order to advance himself. Torn between love and duty, Andronico meets with Bajazet and Asteria to convey Tamerlano’s offer of freedom in exchange for the hand of his daughter. Bajazet rejects the proposal outright (“Ciel e terra armi di sdegno”), and his defiance is only strengthened by Asteria’s revelation of Andronico’s apparent duplicity. Andronico protests that he does not deserve Asteria’s reproach, but when he seeks to reconcile with her, she angrily dismisses him. Alone, Asteria prays that her love may turn to hatred. Arriving from Trebizond escorted by Andronico’s associate Leone, Irene is vexed that her future husband is not present to welcome her. When Andronico informs her that he is now her betrothed, Irene grows enraged at Tamerlano’s faithlessness and vows revenge.
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Handel Program
BARD BAROQUE ENSEMBLE Renée Anne Louprette, director GRADUATE VOCAL ARTS PROGRAM Stephanie Blythe, artistic director Kayo Iwama, associate director HANDEL ARIA PROJECT Caesar placing Cleopatra back on the throne of Egypt – Pierre de Cortone (1596-1669) Rodelinda | Giulio Cesare | Organ Concerto Op. 4, No. 4 Friday, May 14, 2021 | 8:00 PM https://www.youtube.com/watch?v=J9W-nKdpxhA BARD BAROQUE ENSEMBLE GRADUATE VOCAL ARTS PROGRAM present HANDEL ARIA PROJECT Friday, May 14, 2021 | 8:00 PM Recorded in the László Z. Bitó Conservatory Performance Space Bard College, Annandale-on-Hudson, New York PROGRAM Works by George Frideric Handel (1685-1759) OVERTURE Organ Concerto in F major, Op. 4, No. 4 I. Allegro Mary Douglas, ’23, organist ACT I: Excerpts from Rodelinda, regina de’ Longobardi, HWV 19 Ho perduto il caro sposo Jardena Gertler-Jaffe, ’21, soprano L’empio rigor del fato Kirby Burgess, ’22, soprano Lo farò; dirò: spietato Pauline Tan, ’21, mezzo-soprano Ritorna, oh caro e dolce mio tesoro Lucy Fitz Gibbon, ‘15, soprano, VAP faculty Io t’abbraccio Jardena Gertler-Jaffe, soprano, and Micah Gleason, ’22, mezzo-soprano Fatto inferno è il mio petto… Pastorello d’un povero armento Maximillian Jansen, ’21, tenor ENTR’ACTE Trio Sonata in F major, Op. 2, No. 4 I. Larghetto II. Allegro Isabela Cruz-Vespa, ’22, flute Clare Herzog, ’22, oboe Lily Moerschel, ’22, cello Renée Anne Louprette, ’19, harpsichord ACT II: Excerpts from Giulio Cesare in Egitto, HWV 17 Vani sono i lamenti… Svegliatevi nel core Sarah Rauch, ’22, mezzo-soprano Non disperar, chi sa? Samantha Martin, ’22, soprano Cara speme, questo core Joanne Evans, ’22, mezzo-soprano Se in fiorito ameno prato Chuanyuan Liu, ’21, countertenor Laura Pérez Rangel, ’23, violin L’angue offeso mai riposa Melanie Dubil, ’22, mezzo-soprano Piangerò la sorte mia Alexis Seminario, ’22, soprano Dall’ondoso periglio… Aure, deh, per pietà Stephanie Blythe, mezzo-soprano, VAP Artistic Director FINALE Organ Concerto, Op.
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