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38E Festival International D'opéra Baroque
38e festival international d’opéra baroque BEAUNE & romantique 38e Festival International d’Opéra Baroque & Romantique 2020 du 10 juillet au 2 août . 4 week-ends © JM Pettina/Caisse des Dépôts - Fotolia : Dmitry Vereshchagin, Okalinichenko, Vladimir Karpenyuk, KazantsevAlexander, CHROMAKEY ltd 2013, Narinbg. CHROMAKEY ltd 2013, KazantsevAlexander, Vladimir Karpenyuk, Okalinichenko, Vereshchagin, Dmitry : des Dépôts - Fotolia © JM Pettina/Caisse Mécénat POUR LA RÉUSSITE DES JEUNES TALENTS Depuis deux cents ans, la Caisse des Dépôts joue un rôle innovant dans le développement économique et social de notre pays. Son mécénat accompagne l’émergence des nouveaux talents de la musique classique, de la danse, de l’architecture et du paysage. @CaissedesDepots - www.groupecaissedesdepots.fr “Je suis la Musique et, par mes doux accents, Sais apaiser tous les cœurs tourmentés Et enflammer d’amour ou de noble courroux Les esprits les plus glacés” “Et quand j’aurai attendri le cœur du roi des ombres, Je t’entraînerai avec moi pour revoir les étoiles. Et si un cruel destin me le refuse, Je resterai avec toi dans la mort. Adieu terre, adieu ciel et soleil, adieu !” Prologue et Acte II de l’Orfeo de Monteverdi Le Festival d’Opéra Baroque et Romantique de Beaune s’est vu décerner EUROPE FOR FESTIVALS le premier Label EFFE (Europe for Festivals, Festivals for Europe) par la FESTIVALS FOR EUROPE Communauté Européenne, témoignant de l’excellence et de l’engagement EFFE LABEL 2015-2016 artistique de ses productions ainsi que leur dimensions internationales. Serse de Haendel Dir. Ottavio Dantone Riccardo Novaro Cour des Hospices - Juillet 2019 Photo Jean-Luc Cottier du 10 juillet au 2 août 2020 S o m m a i r e Éditorial pages 4 & 5 Calendrier page 7 Opéras & Oratorios pages 09 à 15 Die Zauberflöte de Mozart 9 Armida de Salieri 10 Il Ritorno di Ulisse in patria de Monteverdi 11 Pasticcio « Tell Me The Truth About Love » de Haendel, Vivaldi.. -
The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet -
Incoronazione Di Poppea *
B USENELLO’ S S ECRET H ISTORY: An allegorical reading of L’incoronazione di Poppea * By Magnus Tessing Schneider The 1623 publication of Procopius’ Secret History shocked the scholarly world. The ancient historian’s rejection of his official account of the reign of Justinian I forced humanists to reflect on the general reliability of historical sources. The article suggests that Giovan Francesco Busenello’s libretto L’incoronazione di Poppea (1643) reflects the challenge posed by Procopius’ book. Though its portrayal of historical figures adheres to Tacitus’ Annals, it plays with the possibility that even Tacitus himself was deceived by Machiavellian rulers. Did he, for example, condemn Nero and Poppaea while praising Octavia because this was the truth, or because Octavia was, in fact, a superior politician who had managed to craft a favourable epitaph for herself? Nerone innamorato di Poppea, ch’era moglie di Ottone, lo mandò sotto pretesto d’ambasciaria in Lusitania per godersi la cara diletta, così rappresenta Cornelio Tacito. Ma quì si rappresenta il fatto diverso. Ottone, disperato nel vedersi privo di Poppea, dà nei deliri e nelle esclamazioni. Ottavia, moglie di Nerone, ordina ad Ottone che sveni Poppea. Ottone promette farlo; ma non bastandogli l’animo di levar la vita all’adorata Poppea, si traveste con l’abito di Drusilla ch’era innamorata di lui. Così travestito entra nel giardino di Poppea. Amore disturba e impedisce quella morte. Nerone ripudia Ottavia, nonostante i consigli di Seneca, e prende per moglie Poppea. Seneca more, e Ottavia vien discacciata da Roma.1 Nero, in love with Poppaea, Otho’s wife, sent the latter to Lusitania under the pretext of an ambassadorship in order to enjoy his dearly beloved. -
1 Liturgical Year 2020 of the Celtic Orthodox Church Wednesday 1St
Liturgical Year 2020 of the Celtic Orthodox Church Wednesday 1st January 2020 Holy Name of Jesus Circumcision of Our Lord and Savior Jesus Christ Basil the Great, Bishop of Caesarea of Palestine, Father of the Church (379) Beoc of Lough Derg, Donegal (5th or 6th c.) Connat, Abbess of St. Brigid’s convent at Kildare, Ireland (590) Ossene of Clonmore, Ireland (6th c.) ♦ Liturgy: Wis 3:10-19 Eph 3:1-7 Lk 6:5-11 Holy Name of Jesus: ♦ Vespers: Ps 8 and 19 ♦ 1st Nocturn: Ps 64 1Tm 2:1-6 Lk 6:16-22 ♦ 3rd Nocturn: Ps 71 and 134 Phil 2:6-11 ♦ Matins: Jn 10:9-16 ♦ Liturgy: Gn 17:1-14 Ps 112 Col 2:8-12 Lk 2:20-21 ♦ Sext: Ps 53 ♦ None: Ps 148 1 Thursday 2 January 2020 Seraphim, priest-monk of Sarov (1833) Adalard, Abbot of Corbie, Founder of New Corbie (827) John of Kronstadt, priest and confessor (1908) Seiriol, Welsh monk and hermit at Anglesey, off the coast of north Wales (early 6th c.) Munchin, monk, Patron of Limerick, Ireland (7th c.) The thousand Lichfield Christians martyred during the reign of Diocletian (c. 333) ♦ Liturgy: Wis 4:1-6 Eph 3:8-13 Lk 8:24-36 Friday 3 January 2020 Genevieve, virgin, Patroness of Paris (502) Blimont, monk of Luxeuil, 3rd Abbot of Leuconay (673) Malachi, prophet (c. 515 BC) Finlugh, Abbot of Derry (6th c.) Fintan, Abbot and Patron Saint of Doon, Limerick, Ireland (6th c.) ♦ Liturgy: Wis 4:7-14a Eph 3:14-21 Lk 6:46-49 Saturday 4 January 2020 70 Disciples of Our Lord Jesus Christ Gregory, Bishop of Langres (540) ♦ Liturgy: Wis 4:14b-20 Eph 4:1-16 Lk 7:1-10 70 Disciples: Lk 10:1-5 2 Sunday 5 January 2020 (Forefeast of the Epiphany) Syncletica, hermit in Egypt (c. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Brochure De La Saison 2021-2022
Les Talens Lyriques Les Talens Lyriques ont 30 ans ! ui, nous célébrerons cet anniversaire coûte que coûte. O Quelle longévité ! Je ne l’aurais moi-même jamais espé- rée. Comment m’imaginer diriger tant d’opéras, italiens et français, comment imaginer Les Talens à l’opéra de Sydney, de Versailles ou de Drottningholm, comment aurais-je pu me voir diriger du Berlioz, du Verdi, du Gounod ? Ma grande satisfaction est d’avoir tenu ma ligne entre la France et l’Italie, d’avoir pu éviter l’effet pour l’effet, d’avoir pris des risques avec les trompettistes mais aussi les cornistes et autres aventuriers du baroque pour retrouver les techniques et les sonorités « justes ». Je ne rougis d’aucune eau dans le vin que je respecte trop pour l’édulcorer. Cette saison marquera aussi nos 15 ans d’actions pédagogiques dans les écoles et les collèges. Aujourd’hui, les partenariats se transforment et se multiplient, de nou- veaux projets se développent dans ce souci de transmis- sion qui m’est si cher. Bien sûr, tous ces accomplissements ne seraient pos- sibles sans l’aide de nos partenaires qui nous soutiennent fidèlement depuis de nombreuses années. Sans eux, Les Talens Lyriques n’auraient pu mener à bien tous ces beaux projets. Qu’ils en soient ici très chaleureusement remerciés. Et merci à vous cher public pour votre présence pas- sionnée à nos côtés depuis toutes ces années. Vous me manquez, et j’ai hâte de vous retrouver ! Et maintenant : que la fête commence ! Cette saison justement rassemble ce qui est le cœur de notre vocation : 3 beaucoup d’opéras, surtout méconnus ; de la musique de chambre (car le claveciniste que je suis tient à rester aussi chambriste) ; des récitals de jeunes chanteurs (car découvrir de nouveaux talents est aussi notre marque de fabrique) ; et des incursions dans le romantisme. -
Antonio Maria Montanari (1676-1737) ~ Concerto Grosso in a Major Baroque Music Performed According to the Traditions of the Time
ANTONIO MARIA MONTANARI (1676-1737) ~ CONCERTO GROSSO IN A maJOR BAROQUE MUSIC PERFORMED accORDING TO THE TRADITIONS OF THE TIME uthentic Classical Concerts zu veröffentlichen, heisst für uns, herausragende Aufführungen und Konzerte für die Nachwelt festzuhalten und zu vermitteln. Denn Künstler, Publikum, Werk und ARaum treten in einen intimen Dialog, der in Form und Ausdruck - in seiner Atmosphäre - einmalig und unwiederbringlich ist. Diese Symbiose, die Spannung der Aufführung dem Hörer in all ih- ren Facetten möglichst intensiv erlebbar zu machen, indem wir die Konzerte direkt in Stereo-Digital aufzeichnen, sehen wir als Ziel, als Philosophie unseres Hauses. Das Ergebnis sind einzigartige Interpretationen von musikalischen und literarischen Werken, schlichtweg - audiophile Momentaufnahmen von bleibendem Wert. Blühende Kultur, dem Publikum vor Ort und nicht zuletzt auch Ihnen zur Freude, sind somit jene Werte, welche wir in unseren Editionen und Reihen dokumentieren. Publishing Authentic Classical Concerts entails for us capturing and recording for posterity outstanding performances and concerts. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbio- sis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital. The results are unparalleled interpretations of musical and literary works, simply - audiophile snap- shots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series. Andreas Otto Grimminger & Josef-Stefan Kindler „EUBO has greatly contributed to the vitality of European baroque ensembles.“ Mrs. -
CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
*141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital). -
Boston Symphony Orchestra Concert Programs, Summer, 1993
~^I7^ TanglewGDci erau Wednesday, August 11, at 8:30 K^ LES ARTS FLORISSANT WILLIAM CHRISTIE, Director CHRISTINE BRANDES, soprano HIRO KUROSAKI, violin CLAIRE BRUA, soprano MIHOKO KIMURA, violin VERONIQUE GENS, soprano SIMON HEYERICK, viola SOPHIE MARIN-DEGOR, soprano PAUL CARLIOZ, cello STEVE DUGARDIN, countertenor WILLIAM CHRISTIE, harpsichord MARK PADMORE, tenor JEROME CORREAS, baritone JEAN-CLAUDE SARRAGOSSE, bass ^<^^: MARC-ANTOINE ACTEON CHARPENTIER (1634-1704) Acteon Mark Padmore Diane Sophie Marin-Degor Arthebuze Veronique Gens Junon Claire Brua Hyale Christine Brandes Daphne Claire Brua INTERMISSION •?'.' HENRY PURCELL DiDO AND y^NEAS v'f^ (1659-1695) Dido Veronique Gens Belinda Sophie Marin-Degor vEneas Jerome Correas The Sorceress Claire Brua First Witch /Second Woman Christine Brandes Second Witch Sophie Marin-Degor The Spirit/The Sailor Mark Padmore Les Arts Florissants is funded by the French Ministry of Culture, the town of Caen/Region Basse-Normandie, and the Pechiney Corporation. Week 6 . Acteon Scene premiere Scene I Dans la vallee de Gargaphie In the vale ofGargaphy Bruit de chasse Hunting sounds CHOEUR DES CHASSEURS CHORUS OF HUNTERS Allons, marchons, courons, Let us go, march, run, hastens nos pas . hasten our steps . Quelle ardeur du soleil qui brusle How fiery the sun that beats down noscampagnes; upon our fields; Que le penible acces des plus Let not the arduous way to hautes montagnes the highest peaks Dans un dessein si beau ne nous In so fair a view cause us retarde pas. to tarry. ACTEON ACTEON Deesse par qui je respire, Goddess who grants me breath, Aimable Reyne des forets, Amiable Queen of the forests. -
Handel MUSIC for QUEEN CAROLINE George Frideric Handel (1685 - 1759)
Les Arts Florissants William Christie Handel MUSIC FOR QUEEN CAROLINE George Frideric Handel (1685 - 1759) MUSIC FOR QUEEN CAROLINE !e King shall rejoice - Coronation Anthem, HWV 260 (1727) Te Deum in D major,“Queen Caroline”, HWV 280 (1714) !e ways of Zion do mourn - Funeral Anthem for Queen Caroline, HWV 264 (1737) LES ARTS FLORISSANTS William Christie,direction Caroline of Ansbach !by Enoch Seeman, c. 1720" Soloists for the Te Deum | solistes du Te Deum: Tim Mead,countertenor | contre-ténor Sean Clayton,tenor | ténor Lisandro Abadie,bass-baritone | baryton-basse !e wife of George II of England, a woman of great beauty and a defender of both science and the arts, Caroline of Ansbach was also a patron and close friend of Handel. !is recording brings together three of the composer’s works written for the major royal ceremonies which marked the life of Caroline from her arrival in England to her funeral. Épouse du roi George II d’Angleterre,femme d’une grande beauté,défenseur des arts et des sciences, Caroline d’Ansbach fut aussi la protectrice et l’amie intime de Handel. Cet enregistrement réunit trois œuvres du compositeur destinées aux grandes cérémonies royales qui, de l’arrivée de Caroline en Angleterre jusqu’à ses funérailles,ponctuèrent son règne. 1 7 | Tracklist | Liste des plages 10 | #e performers | Les interprètes 12 | Fit for a Queen | Des joyaux dignes d’une reine JOHN H. ROBERTS 21 | Sung texts | Textes chantés 26 | Portfolio 32 | Biographies 46 | Discography, DVDs and scores | Discographie, DVD et partitions 3 GEORGE FRIDERIC -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland. -
St. Elijah Orthodox Christian Church
ST. ELIJAH ORTHODOX CHRISTIAN CHURCH 15000 N. May, Oklahoma City, OK 73134 Church Office: 755-7804 Church Website: www.stelijahokc.com Church Email: [email protected] APRIL 5, 2020 Issue 32 Number 14 Fifth Sunday of Great Lent (Commemoration of our Righteous Mother Mary of Egypt); Saints of the Day: Martyrs Claudius, Diodore and their companions; New-Martyr George of New Ephesus; Venerable Theodora and Didymus of Alexandria DIRECTORY WELCOME V. Rev. Fr. John Salem Parish Priest 410-9399 We welcome all our visitors. It is an honor to have you worshipping with us. You may find the worship of the Rev. Fr. Elias Khouri Ancient Church very different. We welcome your questions. Assistant Priest 640-3016 Please join us for our Reception held in the Church Hall V. Rev. Fr. Constantine Nasr immediately following the Divine Liturgy. Emeritus We understand Holy Communion to be an act of our unity in Rev. Dn. Ezra Ham faith. While we work toward the unity of all Christians, it Administrator 602-9914 regrettably does not now exist. Therefore, only baptized Rev. Fr. Ambrose Perry Orthodox Christians (who have properly prepared) are Attached permitted to participate in Holy Communion. However, everyone is welcome to partake of the blessed bread that is Anthony Ruggerio 847-721-5192 distributed at the end of the service. We look forward to Youth Director meeting you during the Reception that follows the service. Mom’s Day Out & Pre-K NEW ORTHROS & LITURGY BOOK Sara Cortez – Director 639-2679 Orthros: p. 4 Email: [email protected] Facebook: “St Elijah Mom’s Day Out” The Divine Liturgy p.