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Lisa Larsson Ladies First! Opera Arias by Joseph Haydn Jan Willem De Vriend Combattimento Consort Amsterdam

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Lisa Larsson Ladies First! Opera Arias by Joseph Haydn Jan Willem De Vriend Combattimento Consort Amsterdam Lisa Larsson Ladies First! Opera arias by Joseph Haydn Jan Willem de Vriend Combattimento Consort Amsterdam 1 Lisa Larsson soprano Ladies First! Opera arias by Joseph Haydn Jan Willem de Vriend violin Combattimento Consort Amsterdam with the participation of Maarten Koningsberger baritone 4 5 JOSEPH HAYDN (1732-1809) [1] Scena di Berenice, 12:17 L’isola disabitata, Hob. XXVIII:9 (1779) cantata for soprano and orchestra, Hob. XXIVa:10 (1795) [7] Overture 7:30 (2 violins, viola, cello, double bass, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns) (2 violins, viola, cello, double bass, harpsichord, flute, 2 oboes, 2 bassoons, 2 horns) [8] Aria di Silvia - “Fra un dolce deliro” 4:18 Armida, Hob. XXVIII:12 (1783) (2 violins, viola, cello, double bass, harpsichord, flute, 2 oboes, 2 bassoons, 2 horns) [2] Overture 5:41 (2 violins, viola, cello, double bass, harpsichord, flute, 2 oboes, 2 bassoons, 2 horns) L’infedelta delusa, Hob. XXVIII:5 (1773) [9] Aria di Sandrina - “E la pompa un grand’imbroglio” 5:00 L’anima del filosofo, Hob. XXVIII:13 (1791) (2 violins, viola, cello, double bass, 2 oboes, 2 bassoons, 2 horns) [3] Recitativo di Euridice - “Numi possenti, aita!” 0:48 with the participation of Maarten Koningsberger baritone La Metilde ritrovata, Hob. XXXIVb:3 (1773) [4] Recitativo accompagnato di Euridice - “Dov’è, l’amato bene?” 2:24 [10] Aria di Nannina - “Quando la rosa non ha più spine” 1:57 (2 violins, viola, cello, double bass, harpsichord (rec), 2 oboes, 2 bassoons, 2 horns) (2 violins, viola, cello, double bass, flute, bassoon, 2 horns) [5] Cavatina di Euridice - “Del mio core il voto estremo” 3:04 (2 violins, viola, cello, double bass, harpsichord (rec), 2 oboes, 2 bassoons, 2 horns) L’infedelta delusa, Hob. XXVIII:5 (1773) [11] Aria di Vespina - “Trinche vaine allegramente” 2:03 [6] Arianna a Naxos, 18:02 (2 violins, viola, cello, double bass, harpsichord, 2 oboes, bassoon, 2 horns) cantata for soprano and orchestra, Hob. XXVIb:2 (1790) (2 violins, viola, cello, double bass) total time 63:09 6 7 violin harpsichord Jan Willem de Vriend Pieter Dirksen Ronald Hoogeveen Reinier Reijngoud flute Chris Duindam Leon Berendse Tijmen Huisingh Saskia Bos oboe Johan Olof Bram Kreeftmeijer Quirine van Hoek Hans Wolters Melanie Jansen (only period 1) Vicki Laws (only period 2) Heleen Hulst (only periode 1) Peter Bogaert (only period 2) clarinet Frank van den Brink viola Marcel Geraeds Annette Bergman Marjolein Dispa bassoon Frans Robert Berkhout cello Jos Lammerse (only period 1) Wouter Mijnders Freek Sluijs (only period 2) Maartje Maria den Herder (only period 1) Mariette Freijzer (only period 2) horn Wouter Brouwer double bass Christiaan Boers Erik Olsman (only period 1) Fons Verspaandonk (only period 2) Peter Jansen (only period 2) 8 9 Haydn, the Opera Composer to composing chamber music and unlike for von Gluck, Mozart, Paisiello, Marionette Theatre, the focus being The operas of Joseph Haydn are far symphonies, four Italian comedies, Salieri, Sarti, Piccini, Gretry or any more on the comical and absurd less known today than those of his six German Singspiele and numerous other famous opera composer during instead of dramatic elements. This contemporaries Christoph Willibald Italian operas for his employers of the second half of the 18th century. can be clearly found in the rollicking von Gluck (1714 – 1787) and Wolfgang the Esterhazy dynasty. Furthermore Whereas their operas were mostly aria Trinche vaine allegramente, Amadeus Mozart (1756 -1791). In 1790 he also supervised all musical presented in public opera houses in whose text is a corruption of both Haydn was generally considered activities at the court including Prague, Paris and Vienna, Haydn’s Italian and German. the most famous composer of his yearly performances of more than works were composed for and age, but the relative obscurity of his 150 operas, many composed by his performed in the rural Schloßtheater The most vivid elements of the opera operas in comparison with his other contemporaries. As Kapellmeister in Esterhaza for a select audience seria can be found in the opera works today was also the case in the Haydn was not only responsible of Haydn’s aristocratic patrons and Armida, dating from 1784. Haydn 18th century. How is it possible that for musical direction of the operas their guests, including the above considered Armida his best operatic Haydn’s operas are still relatively but also for staging, contracting mentioned Empress Maria Theresia. work and it also happens to be the unknown, despite a remark Empress the singers and occasionally writing Haydn’s operas were created for a only opera performed respectively Maria Theresia expressed upon an extra aria as required, like the specific place and event: the joyous outside Esterhaza during Haydn’s hearing Haydn’s L’ Infeldelta Delusa in aria “Quando la rosa”. This aria was celebration of a “name day” (the lifetime. Alongside Armida, Haydn 1773; “If I want to hear good opera, I included in the performance of burlesque L’Infeldelta Delusa) also favoured L’Isola Disabitata (1779), am going to Esterhaza!” Guiseppe Anfossi’s opera La Metilde or opening of the newly rebuilt the first opera that made use of solely Ritrovata (1773). Esterhaza Theatre (La Fedelta orchestral recitativo accompagnato Between 1761 and 1790 Haydn Premiata). After performance, the and not secco-recitatives as was the was in the employment of Prince As Haydn’s operas were composed scores were stored away in archives norm. Paul von Esterhazy and his son and for Esterhaza, this meant they were only to be re-performed when the successor Prince Nikolaus, both not written for great singers of the Prince so wished. Some, namely the Haydn was conscious that the passionate music lovers. From 1766 day and the scores were not required Italian comedies and Singspiele, had dramatic element in some of his onwards, Haydn wrote, in addition to pander to a popular audience, been written especially for Esterhaza’s opera libretti was somewhat lacking, 10 11 especially in comparison to the like them in Paris, and perhaps not this opera likewise failed to develop of the piece perfectly supports the Mozart/Da Ponte operas. When asked even in Vienna. My misfortune is only a broad performance history. The mental deterioration of Berenice. by an impresario from Prague for one that I have to stay in the country.” intended premiere of 1791 was of his operas, Haydn replied that none thwarted by the closure of the King’s Without disregarding the status of his works created for the Esterhaza In 1790 Prince Nikolaus von Esterhazy Theatre due to rivalry between of great opera masters like von Theatre were suitable for public died and his successor dismissed all the King and the Prince of Wales, Gluck and Mozart, one can say presentation and additionally, he the Esterhaza musicians including similar to Georg Friedrich Handel’s that Haydn’s dramatic works have would be wary of trying to compete Haydn, although leaving him title and experience in London some sixty been wrongfully overlooked. Haydn artistically on Mozart’s territory. salary. This gave Haydn the freedom years previous. It wasn’t before 1951 is rightfully regarded as a great This did not mean that he doubted he had been longing for and he until the opera was finally premiered. symphonic composer but his genius the quality of his operatic music. accepted an invitation of London- also comes to life in his collection He simply found being confined based impresario Johann Solomon. Previous to and during his second of cantatas, opera aria’s and scenes. to Esterhaza a creative nuisance, For London Haydn notably created visit to London in 1795 Haydn wrote, His confinement to Esterhaza and substantiated by a letter he wrote to an orchestral accompaniment for his simultaneously with a further set lack of a powerful librettist like Da his publisher Artaria in May 1781: cantata Arianna a Naxos, originally of symphonies (nr. 99 – 104), the Ponte ensured that history didn’t for soprano and pianoforte, in Scena di Berenice, a new scene credit him a worthy composer of “Now something about Paris. (…) They which Ariadne laments her fate after for the greatest prima donna of opera. Nonetheless, his mastery of were very surprised that my vocal being left on an island following the time, Italian soprano Brigitta the symphonic genre in combination composition should be so exceedingly the departure of her lover Theseus. Giorgi Banti. In this operatic scene, with his ability to write elegant vocal complaisant; but I was not at all Haydn also wrote a new set of Berenice mourns the death of her lines and melodic text interpretation surprised, as they have not yet heard symphonies (the London Symphonies beloved Demetrio. She witnesses makes him an opera composer to be anything. If they were only to hear my nr. 93 – 98) and a new opera called the departure of his ghost to the thoroughly revered. operetta L’isola disabitata and my last L’Anima del Filosofo (also known as underworld and begs to be taken opera, La fedeltà premiata, I assure Orfeo ed Euridice). Although the only with him. The harmonic structure Marco Meijdam you that nothing has yet been heard opera not composed for Esterhaza, 12 13 Lisa Larsson Equally at home on the concert plat- the Nederlands Philharmonics, the Challenge Classics. Previous releases Following an early career as a flau- form, Lisa Larsson is internationally Hong Kong Philharmonics and the include a recording of Strauss’ tist, Swedish soprano Lisa Larsson renowned for her diversity and artistry. NHK Orchestra, Tokyo. “Vier letzte Lieder” under Douglas studied singing in Basel, Switzerland. Recently added repertoire includes Boyd, Mahler’s Symphony No.
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