DOCSLIB.ORG

JAKUB JÓZEF Orliński SOPHIA Munoz 29/7 Claustre De Sant Pere De Galligants Festival Contratenor JAKUB JÓZEF Orliński Nitsdeclassica Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JAKUB JÓZEF Orliński SOPHIA Munoz 29/7 Claustre De Sant Pere De Galligants Festival Contratenor JAKUB JÓZEF Orliński Nitsdeclassica Piano festival NiTSDEClassica JAKUB JÓZEF ORLIńSKI SOPHIA MUNOZ 29/7 Claustre de Sant Pere de Galligants festival COntratenOR JAKUB JÓZEF ORLIńSKI NiTSDEClassica PIANO GIRONA 2018 · 30 juny / 29 de juliol SOPHIA MUNOZ PROGRAMA 19.30 h Ens preparem FraNCESCO CAVALLI (1602-1676) PAUSA per al concert Lucidissima face, de La Calisto a càrrec Text de Giovanni Faustini (1615-1651) d’Òscar REYNALDO HAHN (1874-1947) Bonany HENRY PURCELL (1659-1695) À Chloris Music for a while Text de Théophile de Viau (1590-1626) Text de John Dryden (1631-1700) Mai i Nathaniel Lee (1653-1692) Text de François Coppée (1842-1908) If music be the food of love Paysage Text de Colonel Henry Heveningham (1651–1700) Text d’André Theuriet (1833-1907) What power art thou who from below Fêtes Galantes Text de John Dryden (1631-1700) Text de Paul Verlaine (1844-1896) Strike the Viol, Touch the Lute L’Heure exquise Text de Nahum Tate (1652-1715) Text de Paul Verlaine GEorgE FRIDERIC HÄNDEL (1685-1759) GEorgE FRIDERIC HÄNDEL Siam prossimi al porto, de Rinaldo Agitato da fiere tempeste,de Riccardo primo, Text de Giacomo Rossi a partir d’un esborrany re d’Inghilterra d’Aaron Hill (1685-1750) Text de Paolo Antonio Rolli (1687-1765) basat en el Furibondo spira il vento, de Partenope text d’Isacio Tiranno, de Francesco Briani (b Venice; fl Llibret de Silvio Stampiglia 1709–10) musicat per Antonio Lotti (1667-1740) l’any 1710. Stille amare, de Tolomeo Re d’Egitto Text de Nicola Francesco Haym (1678-1729) adaptat per Carlo Sigismondo Capece (1652-1728) ©2018 Karine Laval, “Heterotopia 65” CONCERT ENREGISTRAT PER: Dip. Legal: Gi 1058-2018 festival NiTSDEClassica La naturalitat en la veu Marc Busquets Figuerola, director artístic del Lied Festival Victoria de los Ángeles (LIFE Victoria) La tessitura del contratenor, tan de moda en l’actualitat, ha causat impressió des que ha sorgit recentment, seguint la millor tradició de contratenors com Andreas dels inicis de l’òpera, ja que la veu aguda femenina en la capacitat pulmonar d’un Scholl o Philippe Jaroussky. Nascut a Varsòvia el 1990, aquest contratenor de home crea un so realment únic. De fet, ja a l’Imperi Romà d’Orient es creà un cor només 27 anys està ocupant amb força un dels llocs destacats en el panorama amb aquesta tessitura que perdurà fins a la caiguda de Constantinoble el 1453. internacional. Format a la Julliard School de Nova York, en els últims mesos Amb el sorgiment de l’òpera al segle XVII aquesta veu visqué una època d’or però ha debutat al Festival d’Aix-en-Provence, al Wigmore Hall i ha estat dirigit per al segle XIX, en ple auge de l’òpera romàntica, la veu dels castrati quedà totalment William Christie. La propera temporada debutarà al Gran Teatre del Liceu i a passada de moda en pro de la del tenor, la veu masculina aguda però de col·locació l’Opéra Royal de Versalles, veritable referent de la música barroca internacional, natural de pit, és a dir, sense utilitzar el falset, que fa servir les ressonàncies del en un concert en solitari. Amb un color de veu de bellesa indiscutible, Orliński cap. Tot i això, cal dir que les parts de tenor es cantaven a l’època de l’estrena aborda de la mateixa manera els recitals de lied i cançó que els oratoris o l’òpera. de la majoria d’òperes romàntiques amb els aguts en falset i no de pit, com es El recital que ofereix dins el Festival Nits de Clàssica d’aquesta nit és un bon fa actualment. El 1861, amb Itàlia reunificada, es prohibí oficialment la brutal recorregut per les àries de contratenor. De la bellesa barroca i vital de les peces tècnica de la castració amb finalitats musicals, raó per la qual van desaparèixer els de Georg Friedrich Händel (1685-1759) a una altra bellesa, més contemplativa, castrati. Però amb la progressiva recuperació de la música antiga i barroca —que de Henry Purcell (1659-1695), passant per la meditativa ària «Lucidissime face» viu actualment una veritable eclosió—, aquests cantants han anat agafant més i de La Calisto de Francesco Cavalli (1602-1676) per acabar amb les cançons més pes, i viuen al segle XXI una segona època d’or. del veneçolà Reinaldo Hahn (1874-1947) de clar homenatge a l’època antiga i barroca, resultant-ne À Chloris el cas més clar i esdevenint una veritable joia del Amb tot, unes de les qualitats més valorades en els contratenors són l’emissió repertori que brilla especialment en la veu de contratenor. Com en el cas dels i col·locació natural de la veu. El de Jakub Józef Orliński és un d’aquests casos contratenors avui en dia, també per a Hahn el més antic resulta el més modern. F. CAVALLI (1602-1676) Hast made me rise, m’ha fet llevar, Unwillingly and slow, de mala gana i poc a poc, Erme, e solinghe cime, Erms i solitaris cims, From beds of everlasting snow! dels meus llits de neu perpètua! ch’al cerchio m’accostate que a l’astre m’acosteu See’st thou not how stiff, Que no veus que encarcarat, delle luci adorate, d’aquells ulls que adoro, And wondrous old, i sorprenentment vell, in voi di novo imprime, Endimió, admirador secret, Far unfit to bear the bitter cold. no em veig amb cor de suportar el fred mordent. contemplator secreto, imprimeix de nou sobre vostre, Endimione l’orme. tot cobrint-les de besades, I can scarcely move, Or draw my breath, Amb prou feina si em puc bellugar, Le variate forme les traces de variades formes I can scarcely move, Or draw my breath. o prendre alè. della stella d’argento de l’estel argentat Let me, let me, Deixa’m, deixa’m, lusingando,e baciando, que, en aquests llocs solitaris, Let me, let me, Deixa’m, deixa’m, di chiare notti tra i solinghi orrori, escampa lluïssors de nit clara Freeze again... glaçar de nou… sulla terra, e sui sassi i suoi splendori. sobre el rocam i la terra. Let me, let me, Deixa’m, deixa’m, Freeze again to death! glaçar de nou fins a morir! Resplendent esguard, que les remors de Lucidissima face, di Tessaglia le note, Tessàlia Strike the viol, touch the lute; Toqueu la viola, pinceu el llaüt; non sturbino i tuoi giri, e la tua pace. no t’estorbin el viatge ni el sojorn. wake the harp, inspire the flute: feu sonar l’arpa, inspireu la flauta: Da gl’Atlantici monti, tra boccando le rote, Febus, amb llur carro ardent, des dels serrats sing your patroness’s praise, canteu la lloança de vostra patrona, Febo, dal caro ardente, omai, omai tramonti. atlàntics, aturi finalment son pas. in cheerful and harmonious lays. en joiosos i harmònics cants. Il mio lume nascente, illuminando il cielo, Que el meu astre naixent, il•luminant el cel, più bello a me si mostri, e risplendente. se’m mostri resplendent, en tota sa bellesa. G. F. HÄNDEL (1685-1759) Astro mio vago, e caro, a’ tuoi raggi di gelo, Bell astre adorat, m’has ensenyat, que els teus nel petto amante a nutrir fiamme imparo, rajos glaçats poden inflamar el cor d’un amant. Siam prossimi al porto, Som prop del port imparo. Per prender conforto per prendre conhort Al nostro penar. al nostre penar. H. PUrcELL (1659-1695) Ch’il cor si consoli, Que el cor es consoli, Il duolo s’involi i el dol s’esvaeixi Music for a while La música, per un instant, Da chi sa sperar. del qui sap esperar. Shall all your cares beguile. us distraurà de tota preocupació. Siam prossimi ecc. Som prop del port etc. Wond’ring how your pains were eas’d Us preguntareu com els teus mals s’han alleujat And disdaining to be pleas’d però menyspreareu el consol Furibondo spira il vento El vent bufa furiós Till Alecto free the dead fins que Alecto alliberi els morts e sconvolge il cielo e il suol i pertorba cel i terra. From their eternal bands, de les seves eternes cadenes, Tal adesso l’alma io sento Igualment jo sento l’ànima Till the snakes drop from her head, fins que les serps li caiguin del cap agitata dal mio duol. agitada pel meu dolor. And the whip from out her hands. i el fuet de les mans. Furibondo ecc. El vent bufa furiós etc. If music be the food of love, Si la música és l’aliment de l’amor Stille amare, già vi sento Amargues llàgrimes, ja us sento Sing on till I am fill’d with joy; Canteu fins que sigui curull d’alegria; Tutte in seno, la morte chiamar; totes al pit, cridant la mort; For then my list’ning soul you move Llavors la meva ànima amatent transportareu già vi sento smorzare il tormento ja us sento moderar el turment To pleasures that can never cloy. envers plaers sens fi. già vi sento tornarmi a bear, ja us sento donar-me reconfort. Your eyes, your mien, your tongue declare Els vostres ulls, l’esguard, la llengua, clamen Stille amare, ecc. Amargues llàgrimes, ja us sento etc. That you are music ev’rywhere. que vos sou música arreu. Pleasures invade both eye and ear, Els plaers envaeixen tant l’ull com l’oïda, So fierce the transports are, they wound, fereixen, de tant intensos com són els influxos, R. HAHN (1874-1947) And all my senses feasted are, i tots els meus sentits festegen, Tho’ yet the treat is only sound, malgrat que qui mana és el so.
Load more

Recommended publications
  • 825646166411.Pdf
    FRANCESCO CAVALLI L’AMORE INNAMORATO Nuria Rial soprano Hana Blažíková soprano L’ARPEGGIATA Christina Pluhar theorbo, baroque harp Doron David Sherwin cornetto Veronika Skuplik baroque violin Judith Steenbrink baroque violin Eero Palviainen archlute, baroque guitar Marcello Vitale baroque guitar Sarah Ridy baroque harp Margit Übellacker psaltery Elisabeth Seitz psaltery Lixsania Fernandes viola da gamba Rodney Prada viola da gamba Paulina van Laarhoven lirone Josetxu Obregon baroque cello Rüdiger Kurz violone Boris Schmidt double bass Haru Kitamika harpsichord, organ Francesco Turrisi harpsichord, organ David Mayoral percussion Christina Pluhar direction 1 L’Armonia (Prologo) 7:47 11 Affliggetemi, guai dolenti 2:23 L’Ormindo L’Artemisia 3 2 Sinfonia 2:31 12 Che città 3:34 Il Giasone L’Ormindo 3 Piante ombrose 3:07 Giovanni Girolamo Kapsperger La Calisto 13 Toccata prima 5:30 4 Restino imbalsamate 4:20 14 Alle ruine del mio regno 7:07 La Calisto La Didone 5 Vieni, vieni in questo seno 3:39 15 L’alma fiacca svanì 4:23 La Rosinda La Didone 6 Verginella io morir vo’ 3:54 Andrea Falconieri La Calisto 16 La suave melodia 3:30 7 Ninfa bella 3:37 66:52 La Calisto 8 Non è maggior piacere 4:38 La Calisto 9 Dammi morte 4:33 L’Artemisia 10 Sinfonia 2:18 Nuria Rial 3, 4, 6, 8, 12, 14, 15 L’Eliogabalo Hana Blažíková 1, 5, 7, 9, 11 4 Christina Pluhar L’Armonia (Prologo) Restino imbalsamate from L’Ormindo, 1644 from La Calisto, 1651 Libretto by Giovanni Faustini Libretto by Giovanni Faustini 5 Arr. Christina Pluhar Arr.
    [Show full text]
  • Indice Dei Nomi E Delle Opere Citate
    INDICE DEI NOMI E DELLE OPERE CITATE A Sonate a tre, op. 1, 135 AA.VV. Aldrovandini, Giuseppe Antonio Il Demofoonte, 258 155, 171 Zenobia in Palmira, 255 Cesare in Alessandria, 155 Abbarelli, Luigi, 161 Eurilla e Nesso, 155 Abbatini, Antonio Maria, 65 Mirena e Floro, 155 La comica del cielo, 68, 75, 84 Semiramide, 155, 171 Abos, Girolamo, 357 Alessandro VII (Chigi, Fabio), Accademico Palladio (G.B.), 296 papa, 63 Intermezzi in musica, 296 Alessandro VIII (Pietro Vito Acciaiuoli (Acciaoli), Filippo, 69‑ O��oboni), papa, 64, 118, 120‑122, 70, 83, 96, 109 129, 135‑136, 139, 149‑150 Chi è cagion del suo mal pianga Alfani, Francesco, 297‑298 sé stesso, 69, 88 Alfonso II d’Este, duca di Ferrara, L’Empio punito, 66‑67, 69, 77, 18 79, 84, 90‑91, 93, 100, 109, Alfonso VI, re del Portogallo, 132 111, 115 AlfonzeLi, Beatrice, 305 Il Girello, 66, 69, 71, 76, 78, 85, Aliprandi, Ines, 165 89‑90, 94, 101, 109, 115 Allacci, Lione (Leone), 6, 17, 224 Il silenzio d’Arpocrate, 83 Allouache, Joan E., 118 La sincerità con la sincerità Alm, Irene M., 68, 78, 84‑85, 88, 90, ovvero il Tirinto, 67, 69, 74, 109 81, 83, 101, 103, 110, 114 Altamura, Antonio, 350, 362, 379, Il Tito, 68‑69, 75, 77, 80, 88, 90, 384‑386, 388, 391, 393, 399, 412‑ 96‑97 413, 415, 421, 425‑428, 434, 436, Ademollo, Alessandro, 63, 80 439 Agazzari, Agostino, 17 Altieri, famiglia, 71‑72 Eumelio, 17 Altieri, Emilio Bonaventura, v. Intermedi, 17 Clemente X, papa Agostini, Lodovico, 14 Álvarez‑Ossorio Alvariño, Il Nuovo Echo, 14 Antonio, 255 Agostini, Pietro Simone, 69 Amaini, Carlo, 224, 229 Gl’inganni innocenti, overo Amati, Antonio, 285, 297‑298 L’Adalinda, 67, 69, 76, 80‑81, Ambrosio, Luca, 63, 66, 70 84, 103‑104, 112, 114 Amicone, Antonio, 359 Ajola, Filippo, 296 Andreini, Giovanni BaLista, 19 Albani, Giovan Francesco, v.
    [Show full text]
  • Winged Feet and Mute Eloquence: Dance In
    Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation.
    [Show full text]
  • Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice
    McDonald, Bernard M. (2010) Cavalli's "Ormindo": tonality and sexuality in seventeenth-century Venice. MMus(R) thesis. http://theses.gla.ac.uk/1958/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Cavalli’s Ormindo: Tonality and Sexuality in Seventeenth-Century Venice by Bernard Michael McDonald Submitted in fulfilment of the requirements of the degree of Master of Music to The Department of Music Faculty of Arts University of Glasgow April 2010 © Bernard McDonald 2010 ABSTRACT Ormindo, the third collaboration between the composer Francesco Cavalli and the librettist Giovanni Faustini, was created for the 1644 carnival opera season at Venice’s Teatro San Cassiano. This thesis, aimed at performers as well as scholars, begins with a brief consideration of the cultural context of early public opera in Venice and the emergence of the musical language of tonality. It goes on to examine how, in setting Faustini’s text, Cavalli represents desire and sexuality, constructs character, and creates a musical narrative. Cavalli’s implementation of the precepts of the seconda prattica is also considered in terms of textural and rhetorical devices.
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • Francesco Cavalli
    V O L U M E I Arias, duets and ensembles from the operas of Francesco Cavalli Edited, and with translations by Oliver Doyle E D I T I O N M V S I C A A N T I C A 1 Edition Mvsica Antica, Rotherhithe, London. © 2021 by Musica Antica Rotherhithe. This book has been made freely available to facilitate the study and performance of Francesco Cavalli’s music. Parts are also available on request; please write to [email protected] for further information. The manuscript sources consulted in the production of this book can be viewed on internetculturale.it, made available in a digitised format by the Biblioteca Marciana, Venice. For more editions of rare music and their performance in London, please visit www.musicaantica.org.uk. 2 Contents (by opera) Editor’s note v La Didone (1641) Padre, ferma i passi (S) 10 L’alma fiacca svanì (S) 16 L’Ormindo (1644) Prologo (S) 1 Tu per me ben felice (A) 20 Volate fuggite – D’Amor non si quereli (S, S, A, T) 25 Giasone (1649) Delizie, e contenti (A) 40 La Rosinda (1651) Vieni, vieni in questo seno (S) 45 La Calisto (1651) Restino imbalsamate (S) 48 Il Ciro (1654) Mia vita, mio bene (S, S, A, T ) 55 L’Erismena (1655) Piante odorose (S) 60 La Statira (1655) Cresce il foco (S) 66 Menfi, mia patria a (S) a 72 Io vivo (S) 78 3 L’Artemisia (1657) Ardo, sospiro e piango (S) 80 Dammi morte (S) 92 L’Elena (1659) Ecco l’idolo mio (S, S) 97 Mia Speranza (S, S) 104 Ercole Amante (1662) Come si beff’ amore (B) 114 Figlio, figlio (S, T) 124 Pompeo Magno (1666) Coetaneo con gli’astri (T) 128 Sonno, placido nume (A) 132 L’Eliogabalo (1667) Misero così va (S) 137 Pur ti stringo (S, S, S, S) 146 Sources 150 4 unless found in the sources consulted.
    [Show full text]
  • Handel ALCESTE
    HANDEL ALCESTE Lucy Crowe . Benjamin Hulett . Andrew Foster-Williams Early Opera Company CHANDOS early music CHRISTIAN CURNYN George Frideric Handel, 1749 Handel, George Frideric Painting by Thomas Hudson (1701 – 1779) © Lebrecht Music & Arts Photo Library George Frideric Handel (1685 – 1759) Alceste, HWV 45 Incidental music to the play by Tobias Smollett (1721 – 1771) Music texts probably by Thomas Morell (1703 – 1784) 1 1 Ouverture. [ ] – Allegro – A tempo ordinario 5:04 2 2 Grand Entrée 1:57 3 3 Accompagnato (Tenor). ‘Ye happy people’ 0:22 4 4 Soli and Chorus. ‘Triumph, Hymen, in the pair’. Andante allegro 2:34 Elizabeth Weisberg soprano Sian Menna mezzo-soprano 5 5 Solo (Soprano) and Chorus. ‘Still caressing, and caress’d’. Allegro 2:34 6 6 Air (Tenor). ‘Ye swift minutes as ye fly’. Allegro 3:27 7 7 Chorus. ‘O bless, ye pow’rs above’ 2:00 8 8 Air (Soprano). ‘Gentle Morpheus, son of night’. Largo e mezzo piano – ‘That when bright Aurora’s beams’. Andante – Largo – Air 8:07 9 Sinfonia from Admeto, re di Tessaglia, HWV 22 1:18 10 9 Air (Bass). ‘Ye fleeting shades, I come’. Andante 4:19 11 10 Chorus. ‘Thrice happy who in life excel’. Larghetto 1:57 3 12 11 Air (Tenor). ‘Enjoy the sweet Elysian grove’. Allegro, mà non troppo 5:14 13 Passacaille from Radamisto, HWV 12a 4:42 14 Si replica il Coro precedente ‘Thrice happy’ 1:58 15 12 Air (Soprano). ‘Come, Fancy, empress of the brain’. Allegro, ma non troppo – Adagio 5:33 16 13 Symphony and Accompagnato (Tenor).
    [Show full text]
  • Ariodante G.F
    FUNDACIÓN TEMPORADA BALUARTE 2017-2018 #13 FUNDAZIOA DENBORALDIA deAriodante G.F. Haendel Ópera en concierto LES ARTS FLORISSANTS DIRECTOR: WILLIAM CHRISTIE Viernes 16 Marzo 2018 20:00h/etan 2018ko martxoak 16, ostirala C M Y CM MY CY CMY K FUNDACIÓN TEMPORADA BALUARTE 2017-2018 FUNDAZIOA DENBORALDIA Ariodante Ópera en versión concierto Les Arts Florissants Dirección: William Christie Ópera en tres actos. Música de Georg Friedrich Haendel (1685-1759). Libreto de Antonio Salvi, basado en el libreto de ‘Ginevra, Principessa di Scozia’ (1708) de Giacomo Antonio Perti, sobre los cantos IV y VI del poema ‘Orlando furioso’ (1532) de Ludovico Ariosto. Estrenada en el Covent Garden Theatre de Londres el 8 de enero de 1735. C M Y CM Ariodante Kate Lindsey, mezzo-soprano MY Ginevra Chen Reiss, soprano CY Dalinda Hila Fahima, soprano CMY Polinesso Christophe Dumaux, contratenor Lurcanio Rainer Trost, tenor K Rey de Escocia Wilhelm Schwinghammer, bajo Odoardo Anthony Gregory, tenor DURACIÓN APROXIMADA Parte I: 75 MIN. / Descanso / Parte II: 90 MIN. TEMPORADA 2017-2018 DENBORALDIA 3 Honor, amor, perdón Londres, 8 enero de 1735. Georg Friedrich Haendel (Halle, 1685 - Londres, 1759) estrenaba su Ariodante en el Covent Garden de Londres. Sería la primera de sus partituras para las temporadas de este teatro londinense, tras su ruptura con el King’s Theatre. En la capital británica se sostenía por aquel entonces una pugna entre el citado Covent Garden y la Ópera de la Nobleza. La prime- ra contaba con el apoyo de la Casa Real (no en vano pervive hoy en día su nombre como Royal Opera House) si bien la segunda disfrutaba del respaldo del Príncipe de Gales.
    [Show full text]
  • Musique De L'œil
    ARTAMAG' FOCUS MUSIQUE DE L’ŒIL 13 NOVEMBRE 2015 | JEAN-CHARLES HOFFELÉ La musique se voit dans la peinture vénitienne, mieux, elle se montre, de la trompette de la Gloire de Giuseppe Angeli au « concertino » qui accompagne les joueurs de cartes de Pietro Longhi nommant d’ailleurs son tableau. Instruments pour les scènes mythologiques ou les « moralités », fresques où se mirent la dramaturgie du théâtre d’opéra que Venise invente puis réinvente sans cesse, concerts de cordes et de bois qui rappellent la pratique instrumentale intimement liée aux Ospedali, c’est tout ce répertoire pictural qu’Olivier Lexa parcourt au long des deux cent pages du livre d’art qu’il consacre à ce sujet inusable : « La musique à Venise ». Période : de Monteverdi à Vivaldi ; sujet : toiles, fresques, apparat, pratique domestique, et évidemment opéra où entre décors, costumes, dramaturgie, l’auteur suit l’évolution du goût vénitien. En refermant cet ouvrage magnifique qui va chercher parfois dans les parts les moins courues du répertoire pictural de la Sérénissime, je me dis que le sujet n’avait pas été traité avec tant d’à propos et une si profonde sensibilité. C’est qu’Olivier Lexa « entend » cette peinture musicale dans les deux acceptations du terme. Il est l’auteur de la première biographie française de l’autre père de l’opéra vénitien avec Monteverdi, Francesco Cavalli – en fait pour moi, son véritable créateur – un ouvrage très documenté au style enlevé que l’on retrouve toujours aussi brillant et juste dans le nouveau venu, comme dans le prologue qui pare le magnifique livre-disque concocté par Mariana Florès et Leonardo García Alarcón, où se résume en ses pages les plus éloquentes ou les plus touchantes tout le théâtre lyrique de Cavalli.
    [Show full text]
  • Les Arts Florissants William Christie Direction Emmanuelle De Negri Soprano Katherine Watson Soprano Tim Mead Contreténor James Way Ténor Padraic Rowan Basse
    2019 20:00 07.10.Grand Auditorium Lundi / Montag / Monday Voyage dans le temps – musique ancienne et baroque / Greatest Hits Les Arts Florissants William Christie direction Emmanuelle de Negri soprano Katherine Watson soprano Tim Mead contreténor James Way ténor Padraic Rowan basse 80’ — 70’ Le clavecin de ce concert est un instrument à 2 claviers, à 16’, fait par M. Kramer d’après Chr. Zell (Hambourg, première moitié du 18e siècle). Georg Friedrich Händel (1685–1759) Messiah (Le Messie / Der Messias) HWV 56. A Sacred Oratorio (Charles Jennens) (1741) First Part Scene 1: Isaiah’s prophecy of salvation N° 1: Sinfonia: Grave – Allegro moderato N° 2: Accompagnato (tenor): «Comfort ye my people» (Isa 40, 1-3) N° 3: Air (tenor): «Ev’ry valley shall be exalted» (Isa 40, 4) N° 4: Chorus: «And the glory of the Lord shall be revealed» (Isa 40, 5) Scene 2: The coming judgment N° 5: Accompagnato (bass): «Thus saith the Lord of Hosts» (Hag 2, 6-7; Mal 3, 1) N° 6: Air (alto): «But who may abide the day of His coming» (Mal 3, 2) N° 7: Chorus: «And He shall purify» (Mal 3, 3) Scene 3: The prophecy of Christ’s birth Recitative (alto): «Behold, a virgin shall conceive» (Isa 7, 14; Matt 1, 23) N° 8: Air (alto) and Chorus: «O thou that tellest good tidings to Zion» (Isa 40, 9; 60, 1) N° 9: Accompagnato (bass): «For behold, darkness shall cover the earth» (Isa 60, 2–3) N° 10: Air (bass): «The people that walked in darkness» (Isa 9, 2) N° 11: Chorus: «For unto us a Child is born» (Isa 9, 6) Scene 4: The annunciation to the shepherds N° 12: Pifa: Larghetto
    [Show full text]
  • The Glimmerglass Festival
    A 2017 Guide FEATURE ARTICLE Training Opera’s Next Generation A Tale of Two Festivals April 2017 Festivals Editor’s Note In our largest and most varied Guide to Summer Festivals yet, we focus on a common thread: training the next generation of performers and the artistic personnel who support them. At many festivals, young artists receive private lessons, coaching sessions, master classes, or all of the above during the day. By night they are either performing, observing the seasoned pros who train them by day, or a combination of the two. But honing or developing the skills of tomorrow’s generation of musicians is only part of the equation. It’s summertime, after all, and while the living may not exactly be “easy,” it’s certainly a lot more relaxed than during the season or school year. Consider the difference between waiting in the green-room line post-concert A 2017 Guide to shake the maestro’s hand vs. running into him in the festival cafeteria line, or at the local pub after the concert, or on a morning jog. Such is the kind of cross-fertilization for which festivals are known, and one of the reasons they are such ideal settings for rising artists. Sometimes the trainees are fully integrated into the schedule, such as at the Santa Fe Opera, where young artists are featured, often in leading roles. Sometimes they work independently of the main event, such as at Tanglewood, where the Tanglewood Music Center Orchestra, for instance, is comprised entirely of TMC Fellows and plays its own concerts, alongside the center-stage Boston Symphony Orchestra (whose members form much of the faculty).
    [Show full text]