George Frideric Handel Silla
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Female Soprano Roles in Handel's Operas Simple
Female Soprano Roles in Handel's 39 Operas compiled by Jennifer Peterson, operamission a recommended online source for plot synopses Key Character Singer who originated role # of Arias/Ariosos/Duets/Accompagnati Opera, HWV (Händel-Werke-Verzeichnis) Almira, HWV 1 (1705) Almira unknown 8/1/1/2 Edilia unknown 4/1/1/0 Bellante unknown 2/2/1/1 NOTE: libretto in both German and Italian Rodrigo, HWV 5 (1707) Esilena Anna Maria Cecchi Torri, "La Beccarina" 7/1/1/1 Florinda Aurelia Marcello 5/1/0/0 Agrippina, HWV 6 (1709) Agrippina Margherita Durastanti 8/0/0 (short quartet)/0 Poppea Diamante Maria Scarabelli 9/0/0 (short trio)/0 Rinaldo, HWV 7 (1711) Armida Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/1/2/1 Almirena Isabella Girardeau 3/1/1/0 Il Pastor Fido, HWV 8 (1712) Amarilli Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/0/1/1 Eurilla Francesca Margherita de l'Épine, "La Margherita" 4/1/0/0 Page 1 of 5 Teseo, HWV 9 (1712) Agilea Francesca Margherita de l'Épine, "La Margherita" 7/0/1/0 Medea – Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/2 Clizia – Maria Gallia 2/0/2/0 Silla, HWV 10 (?1713) Metella unknown 4/0/0/0 Flavia unknown 3/0/2/0 Celia unknown 2/0/0/0 Amadigi di Gaula, HWV 11 (1715) Oriana Anastasia Robinson 6/0/1/0 Melissa Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/0 Radamisto, HWV 12 (1720) Polissena Ann Turner Robinson 4/1/0/0 Muzio Scevola, HWV 13 (1721) Clelia Margherita Durastanti 2/0/1/1 Fidalma Maddalena Salvai 1/0/0/0 Floridante, HWV 14 (1721) Rossane Maddalena Salvai 5/1/1/0 Ottone, HWV 15 (1722) Teofane Francesca -
Connection/Separation
Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule. -
Christopher Ainslie Selected Reviews
Christopher Ainslie Selected Reviews Ligeti Le Grand Macabre (Prince Go-Go), Semperoper Dresden (November 2019) Counter Christopher Ainslie [w]as a wonderfully infantile Prince Go-Go ... [The soloists] master their games as effortlessly as if they were singing Schubertlieder. - Christian Schmidt, Freiepresse A multitude of excellent voices [including] countertenor Christopher Ainslie as Prince with pure, blossoming top notes and exaggerated drama they are all brilliant performances. - Michael Ernst, neue musikzeitung Christopher Ainslie gave a honeyed Prince Go-Go. - Xavier Cester, Ópera Actual Ainslie with his wonderfully extravagant voice. - Thomas Thielemann, IOCO Prince Go-Go, is agile and vocally impressive, performed by Christopher Ainslie. - Björn Kühnicke, Musik in Dresden Christopher Ainslie lends the ruler his extraordinary countertenor voice. - Jens Daniel Schubert, Sächsische Zeitung Christopher Ainslie[ s] rounded countertenor, which carried well into that glorious acoustic. - operatraveller.com Handel Rodelinda (Unulfo), Teatro Municipal, Santiago, Chile (August 2019) Christopher Ainslie was a measured Unulfo. Claudia Ramirez, Culto Latercera Handel Belshazzar (Cyrus), The Grange Festival (June 2019) Christopher Ainslie makes something effective out of the Persian conqueror Cyrus. George Hall, The Stage Counter-tenors James Laing and Christopher Ainslie make their mark as Daniel and Cyrus. Rupert Christiansen, The Telegraph Ch enor is beautiful he presented the conflicted hero with style. Melanie Eskenazi, MusicOMH Christopher Ainslie was impressive as the Persian leader Cyrus this was a subtle exploration of heroism, plumbing the ars as well as expounding his triumphs. Ashutosh Khandekar, Opera Now Christopher Ainslie as a benevolent Cyrus dazzles more for his bravura clinging onto the side of the ziggurat. David Truslove, OperaToday Among the puritanical Persians outside (then inside) the c ot a straightforwardly heroic countertenor but a more subdued, lighter and more anguished reading of the part. -
Il FLORIDANTE Tra L'amadigi E Il RINALDO
I Università di Pisa a.a. 2005-2007 TESI DI DOTTORATO IN LETTERATURA ITALIANA Il FLORIDANTE tra l’ AMADIGI e il RINALDO L’epilogo del Tasso, l’esordio del Tassino CANDIDATO ROSANNA SIMONA MORACE RELATORE PROF . PIERO FLORIANI IL PRESIDENTE PROF . M.C. CABANI CORELATORE PROF . SERGIO ZATTI II Alle mie stelle in cielo (Mikie compresa), ai miei angeli custodi in terra (Galatina compresa). Ringrazio con molto affetto il Prof. Piero Floriani per la disponibilità, la gentilezza e l’onestà con la quale mi ha seguito, da maestro, in tutti questi anni. Un altro sentito gra- zie va al Prof. Livio Petrucci, per i preziosi consigli ed il tempo dedicatomi nonostante non fosse tra i tutori del mio percorso. Un caldo abbraccio, poi, per il Prof. Carlo Alber- to Madrignani, che con la sua divertente saggezza è stato per me come un nonno; ed al Prof. Giancarlo Bertoncini, discreto, silenzioso, ma altrettanto vicino ed umanamente disponibile. Ancora un grazie al mio papà, che pur da lontano mi è stato sempre vicino. III VOL . I Il FLORIDANTE tra l’AMADIGI e il RINALDO L’epilogo del Tasso, l’esordio del Tassino I) TRA VENEZIA E MANTOVA (1558-1569) pp. 1-44 L’epilogo del Tasso; l’esordio del Tassino. II ) TRA EPICA E ROMANZO (1543-1560) pp. 45-83 1) L’ Amadigi ‘epico’ e il rapporto con l’ Amadìs , pp. 45-64. 2) La ‘riforma romanzesca’ e l’ Amadigi ‘molteplice’, pp. 65-72 3) La Prefazione all’ Amadigi di Lodovico Dolce, pp. 72-83 III ) TRA ROMANZO ED EPICA (1556-1560) pp. -
Siroe Fondazione Teatro La Fenice Di Venezia
GEORG FRIEDRICH HÄNDEL SIROE FONDAZIONE TEATRO LA FENICE DI VENEZIA SIROE Georg Friedrich Händel in un ritratto di Thomas Hudson. (Londra, National Portrait Gallery). 2 FONDAZIONE TEATRO LA FENICE DI VENEZIA SIROE musica di GEORG FRIEDRICH HÄNDEL VENEZIA - SCUOLA GRANDE S. GIOVANNI EVANG E LI STA Giovedì 28 dicembre 2000, ore 20.00 Sabato 30 dicembre 2000, ore 15.30 Martedì 2 gennaio 2001, ore 20.00 Giovedì 4 gennaio 2001, ore 20.00 3 —————— Edizioni dell’Ufficio Stampa del TEATRO LA FENICE Responsabile Cristiano Chiarot Hanno collaborato Pierangelo Conte, Giorgio Tommasi Ricerca iconografica Maria Teresa Muraro Copertina Tapiro Pubblicità AP srl Torino 4 SOMMARIO 7 LA LOCANDINA 11 I LIBRETTI 90 SIROE IN BREVE 92 ARGOMENTO - ARGUMENT - SYNOPSIS - HANDLUNG - 97 LORENZO BIANCONI L’“INTOLLERANTE” SIROE DA VENEZIA A HAYMARKET 102 HÄNDEL E METASTASIO 103 JORGE LAVELLI SIROE, RE DI PERSIA ALLA SCUOLA GRANDE S. GIOVANNI EVANGELISTA 104 GIORGIO GUALERZI UNA CITTÀ HÄNDELIANA 112 BIOGRAFIE 5 Lauro Crisman, modellino per Siroe. Venezia, Scuola Grande S. Giovanni Evangelista, dicembre 2000. 6 LA LOCANDINA SIROE musica di GEORG FRIEDRICH HÄNDEL libretto di NICOLA FRANCESCO HAYM da PIETRO METASTASIO prima rappresentazione in Italia personaggi ed interpreti Cosroe LORENZO REGAZZO Siroe VALENTINA KUTZAROVA Medarse ROBERTO BALCONI Emira PATR IZIA CIOFI Laodice JAHO ERMONELA Arasse DARIO GIORGELÉ maestro concertatore e direttore ANDREA MARCON regia JORGE LAVELLI scene LAURO CRISMAN costumi FRANCESCO ZITO assistente regia CARLO BELLAMIO effetti sonori JEAN MARIE BOURDAT light designer FABIO BARETTIN VENICE BAROQUE ORCHESTRA nuovo allestimento in coproduzione con APOLLONESQUE e in collaborazione con il Comitato Nazionale per le celebrazioni del Terzo Centenario della nascita di Pietro Metastasio Si ringraziano l’Università di Birmingham – Centre of Early Music Performance and Research e la Dott.ssa Mary O’Neill per aver gentilmente fornito copia dei manoscritti originali del Siroe. -
Handel's Silla Triumphs
12 Opera con Brio, LLC June 2015 Opera con Brio Richard B. Beams Handel’s Silla Triumphs Händel-Festspiele Halle, June 2015 If ever there were an opera in Handel’s pantheon of forty-one operas worthy of having its flawed reputation as an inferior and inconsequential work corrected, Lucio Cornelio Silla of 1713 is certainly the one. If ever there were an opera company appropriate to dispel its false reputation, Oper Halle, the resident company in the town of Handel’s birth, is certainly the one. Oper Halle accomplished just that feat with the opening performance of the 2015 Händel-Festspiele Halle on June 5. Oper Halle had presented a concert performance in 1993 (the same year Paris offered the first staged Filippo Mineccia (Silla), Romelia Lichtenstein (Metella) Photo: Anna Kolata production in modern times), and the London Handel Festival had soon followed with a concert performance in A Problematic Early Work 2000 (and the first recording of the opera). However, Oper Halle’s recent compelling production under director In his fine notes to the London Handel Festival Stephen Lawless and the strong and idiomatic musical recording, scholar Anthony Hicks outlines the many ways forces under the direction of Enrico Onofri proved in which Silla is indeed unusual among Handel’s operas. decisively that this opera by Handel is not only These include the absence of information about its surprisingly viable on stage, but also rich with music of composition and performance, the fragmented Handel sheer delight and at times even great emotional depth. autograph and manuscript full scores, and the evident 43 Opera con Brio, LLC June 2015 lack of a complete performance during the period it was A Taut and Compelling Production written (1713-14, between Teseo and Amadigi.) The libretto, he points out, written by Giacomo Rossi, the In Mr. -
Gaio Giulio Cesare Progetto AUREUS-Classe VF Prof.Ssa Marisa Panetta A.S
Gaio Giulio Cesare Progetto AUREUS-classe VF prof.ssa Marisa Panetta a.s. 2018-2019 Gaio Giulio Cesare nella storiografia LA VITA Dal 100 A.C. al 60 A.C. Cesare nacque il 13 o il 12 luglio del 100 a.C. in un quartiere romano chiamato “Suburra” da una nota famiglia , la “Gens Iulia”. A 16 anni ripudiò la promessa sposa Cossuzia per sposare Cornelia minore che era la figlia di Lucio Cornelio Cinna. Durante la dittatura di Silla a Cesare fu intimato di divorziare da Cornelia poiché non era di origine patrizia, ma egli rifiutò. Allora Silla, poiché non aveva obbedito a un suo ordine, voleva ucciderlo, ma dovette desistere per i numerosi appelli rivoltigli dalle Vestali che prevedevano un futuro glorioso per Cesare. Cesare per la paura scappò in Sabina e, arrivato alla giusta età, divenne legato del pretore Minucio Termo in Asia. Finito questo periodo di servizio militare, rimase in Cilicia come patrizio romano sotto il comando di Servilio Isaurico. Quando Silla si dimise dalla carica di dittatore nell’80, Cesare tornò a Roma nel 78 ovvero dopo la morte di Silla, allora iniziò come esponente del partito dei populares e nemico degli optimates la sua carriera nella quale mostrò una grandissima intelligenza politica. Busto di Cesare in uniforme militare. Cesare fu eletto questore nel 69, un periodo in cui il clima politico romano stava cambiando grazie alla fine della dittatura sillana. Durante quest’anno, Cesare si recò in Spagna Ulteriore governata dal propretore Vetere, nella quale si dedicò all’attività giudiziaria . Nel 65 fu eletto edile curule e, inoltre, divenne leader del movimento popolare, mentre nel 63 divenne pontefice massimo dopo la morte di quinto Cecilio Metello Pio. -
Georg Friedrich Händel Ariodante
Divertimento 3 Georg Friedrich Händel Ariodante Sonntag 24. November 2019 18:00 Bitte beachten Sie: Ihr Husten stört Besucher und Künstler. Wir halten daher für Sie an den Garderoben Ricola-Kräuterbonbons bereit. Sollten Sie elektronische Geräte, insbesondere Mobiltelefone, bei sich haben: Bitte schalten Sie diese zur Vermeidung akustischer Störungen unbedingt aus. Wir bitten um Ihr Verständnis, dass Bild- und Tonaufnahmen aus urheberrechtlichen Gründen nicht gestattet sind. Wenn Sie einmal zu spät zum Konzert kommen sollten, bitten wir Sie um Verständnis, dass wir Sie nicht sofort einlassen können. Wir bemühen uns, Ihnen so schnell wie möglich Zugang zum Konzertsaal zu gewähren. Ihre Plätze können Sie spätestens in der Pause einnehmen. Bitte warten Sie den Schlussapplaus ab, bevor Sie den Konzertsaal verlassen. Es ist eine schöne und respektvolle Geste den Künstlern und den anderen Gästen gegenüber. Mit dem Kauf der Eintrittskarte erklären Sie sich damit einverstanden, dass Ihr Bild möglicherweise im Fernsehen oder in anderen Medien ausgestrahlt oder veröffentlicht wird. Vordruck/Lackform_1920.indd 2-3 17.07.19 10:18 Divertimento 3 Caroline Jestaedt Sopran (Dalinda) Ana Maria Labin Sopran (Ginevra) Marianne Crebassa Mezzosopran (Ariodante) Yuriy Mynenko Countertenor (Polinesso) Valerio Contaldo Tenor (Lurcanio) Paco Garcia Tenor (Odoardo) James Platt Bass (Re di Scozia) Les Musiciens du Louvre Marc Minkowski Dirigent Sonntag 24. November 2019 18:00 Erste Pause nach Akt I, gegen 19:10 Zweite Pause nach Akt II, gegen 20:30 Ende gegen 21:45 PROGRAMM Georg Friedrich Händel 1685 – 1759 Ariodante HWV 33 (1734) Dramma per musica in drei Akten Unbekannter Textdichter nach Antonio Salvis »Ginevra, principessa di Scozia« 2 ZUM WERK Die Handlung Erster Akt Im mittelalterlichen Schottland liebt die schottische Königstoch- ter Ginevra den Ritter Ariodante. -
Vivaldi Gloria and Imeneo Europa Galante
Vivaldi Gloria and Imeneo Europa Galante Martina Belli Léa Desandre Fabio Biondi Europa Galante Gloria e Imeneo is a serenata containing some of Vivaldi's finest music, alternating virtuosity with elegance, poignancy, and dramatic fervour comparable to his most compelling operas. Commissioned by the French Ambassador to commemorate the nuptials of Louis XV and the Polish princess Maria Leszczyska, Vivaldi’s work was first performed in 1725 in a loggia at the end of the garden at the ambassador’s residence in Venice, a building which still stands today as the Grand Hotel ‘Palazzo dei Dogi’. The two characters are Imeneo (Hymen, representing marriage) and La Gloria (Glory, the attribute of the French monarch). Throughout the work the two protagonists compete with each other in celebrating the radiant future of the French monarchy, and in congratulating the young royal couple in the most extravagant language each can muster. After competing with one another, the two soloists eventually join together and duet and the work climaxes with a final recitative: this celebration, sings La Gloria, will remain etched in human memory forever. The exceptionally high quality of the music features arias with tune-like qualities equivalent to the most unforgettable of Vivaldi’s concerto melodies. Recitatives are short and lively and they never distract from what was most important to the composer and his French sponsors: a solid hour of ravishing and exciting Baroque music. Orchestration: 2 soloists 15 musicians (Fabio Biondi + strings + harpsichord) For more information contact Vicky Shilling, Associate Director, International Touring [email protected] +44 (0)20 7608 9931. -
Pdf-Dokument
MUSIK - CDs CD.Sbo 2 / Haen HÄNDEL Händel, Georg Friedrich: Arcadian duets / Georg Friedrich Händel. Natalie Dessay ; Gens, Veronique …[s.l.] : Erato Disques, 2018. – 2 CDs Interpr.: Dessay, Natalie ; Veronique Gens CD. Sbo 2 / Haen HÄNDEL Händel, Georg Friedrich: Cembalosuiten (1720) Nr. 1 – 8 / Georg Friedrich Händel. Laurence Cummings.- [s.l.] : Somm, 2017. – 2 CDs Interpr.: Cummings, Laurence ; London Handel Orchestre CD. Sbo 2 / Haen HÄNDEL Händel, Georg Friedrich: Cembalowerke /Georg Friedrich Händel. Philippe Grisvard ; William Babell ; Friedrich Wilhelm Zachow … [s.l.] : audax, 2017.- Interpr.: Grisvard, Philippe ; Babell, William ; Zachow, Friedrich Wilhelm CD. Sbs 2 / Haen Händel Händel, Georg Friedrich: Arien / Georg Friedrich Händel. Bernadette Greevy ; Joan Sutherland … [s.l.] : Decca, 2017.- 2 CDs Interpr.: Greevy, Bernadette ; Sutherland, Joan CD. Sbs 2 / Haen Händel Händel, Georg Friedrich: Silla / Georg Friedrich Händel. James Bowman ; Simon Baker… [s.l.] : Somm, 2017.- 2 CDs Interpr.: Bowman, James ; Baker, Simon CD. Sbs 2 /Haen Händel Händel, Georg Friedrich: Instrumentalmusiken aus Opern & Oratorien / Georg Friedrich Händel. London Handel Players [s.l.] : Somm, 2017.- 1 CD Interpr.: London Handel Players 1 CD.Sbq 3 / Haen HÄNDEL Händel, Georg Friedrich: Aci, Galatea e Polifemo : Serenata. Napoli, 1708 / Handel. Roberta Invernizzi ... La Risonanza. Fabio Bonizzoni. - San Lorenzo de El Escorial : note 1 music, 2013. - 2 CDs + Beih. Interpr.: Bonizzoni, Fabio [Dir.] ; Invernizzi, Roberta ; La Risonanza CD.Sbs 2 / Haen HÄNDEL Händel, Georg Friedrich: Alessandro : live recorded at Badisches Staatstheater Karlsruhe / G. F. Handel. Lawrence Zazzo ... Deutsche Händel-Solisten on period instruments. Michael Form. - [S.l.] : note 1 music, 2012. - 3 CDs + Beih. Interpr.: Form, Michael; Zazzo, Lawrence; Deutsche Händel-Solisten CD.Sbs 2 / Haen HÄNDEL Händel, Georg Friedrich: Alessandro / Handel. -
Program Notes for Amadigi
Amadigi di Gaula Opera in three acts Music by George Frideric Handel Libretto: anonymous First performance: The King’s Theatre, London, May 25, 1715 Cast, in order of appearance: Amadigi di Gaula, knight, in love with Oriana (alto) Dardano, prince of Thrace (alto) Melissa, sorceress, in love with Amadigi (soprano) Oriana, daughter of the King of the fortunate isles (soprano) Orgando, uncle of Oriana (soprano) *********************************** Program note by Martin Pearlman Why is Handel's Amadigi di Gaula (Amadis of Gaul) so rarely heard? Written not long after Handel had settled in England, it is a youthful, exuberantly inventive work, full of love, magic and brilliant arias. The great historian Charles Burney, writing later in the century, called it "a production in which there is more invention, variety, and good composition than in any one of the musical dramas of Handel which I have yet carefully and critically examined." Whether it is due to its small cast, the fact that it has only high voices or some other reason, Amadigi is produced much less frequently than most other works of this caliber. The opera originally opened on May 25, 1715 at the King's Theatre in London in a production that was full of spectacle and magical effects. The Daily Courant warned ticket buyers about all the stage machinery: "whereas there is a great many Scenes and Machines to be mov'd in this Opera, which cannot be done if Persons should stand upon the Stage (where they could not be without Danger), it is therefore hop'd no Body, even the Subscribers, will take it Ill that they must be deny'd Entrance on the Stage." Amadigi was a triumph and helped cement Handel's reputation with the London public, which still remembered the sensation of his opera Rinaldo written some four years earlier. -
31 OCTOBER THURSDAY SERIES 3 Helsinki Music Centre at 19.00
31 OCTOBER THURSDAY SERIES 3 Helsinki Music Centre at 19.00 Fabio Biondi, conductor and violin Laura Vikman, violin Jorma Valjakka, oboe Georg Philipp Telemann: “La changeante” TWV 55:G2 20 min I Ouverture II Loure III Les Scaramouches IV Minuets 1 & 2 V La Plaisanterie VI Hornpipe VII Avec douceur VIII Canarie Johann Sebastian Bach: Concerto for Violin and Oboe BWV 1060 15 min I Allegro II Adagio III Allegro Arcangelo Corelli: Concerto grosso Op. 6, No. 4 9 min I Adagio – Allegro II Adagio III Vivace IV Allegro INTERVAL 20 min 1 Johann Sebastian Bach: Concerto for Two Violins BWV 1043 17 min I Vivace II Largo ma non tanto III Allegro Georg Philipp Telemann: “Burlesque de Quixotte” TWV 55:G10 17 min I Ouverture (Largo – Allegro – Largo) II Le réveil de Quixotte (Don Quixote Awakens) III Son attaque des moulins à vent (Don Quixote Attacks The Windmills) (Très vite) IV Les soupirs amoureux après la princesse Dulcinée (Pining For The Princess Dulcinea) V Sanche Panche berné (Sancho Panza) VI Le galope de Rosinante (The Galloping of Rosinante) VII Celui d’ane de Sanche (The Galloping Of Sancho Panza’s Mule) VIII Le couché de Quixotte (The Sleep Of Don Quixote) Interval at about 20.00. The concert ends at about 21.05. 2 GEORG PHILIPP 6/8 rhythms, creating a strict but de- termined impression – as at the begin- TELEMANN (1681–1767): ning of the suite. “LA CHANGEANTE” TWV 55:G2 The subject of this orchestral suite La JOHANN SEBASTIAN changeante maybe reflects Telemann’s BACH (1685–1750): own desire for change.