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Deborah Cachet za 21 sep 2019 20.00 Kamermuziekzaal DEBORAH CACHET Drama Queens © Stefaan Achtergael Biografieën Uitvoerders Deborah Cachet (BE) is sinds 2013 bezig Sofie Vanden Eynde (BE) begon op jonge en programma aan een operacarrière met finaleplekken en leeftijd gitaar te spelen, om later over te prijzen in concoursen als die van Froville en schakelen op luit en teorbe. Ze studeerde Innsbruck. Ze maakte deel uit van Le Jardin bij Philippe Malfeyt en Hopkinson Smith des Voix, het jonge-artiestenprogramma en speelde sindsdien bij groepen als Neue van Les Arts Florissants (Arminda in Hofkapelle Graz, Hathor Consort, a nocte Mozarts Finta Giardiniera), en zong de temporis, Vox Luminis, en in duo met Romina rollen van Dido en Didon in Purcells Dido Lischka, Thomas Hobbs, Emma Kirkby, and Aeneas en Desmarests Didon et Énee Lore Binon, Lieselot De Wilde en Rebecca 19.15 Inleiding door Sofie Taes Francesco Cavalli (1602-1676) in een Europese tournee in het kader van de Ockenden. In 2012 creëerde ze Imago Volgi, deh volgi il piede, uit Gli amori Académie Baroque d’Ambronay gedirigeerd Mundi, een ontmoetingsplaats voor oude — d’Apollo e di Dafne (1640) door Paul Agnew. Ze werkt ondertussen en nieuwe, westerse en oosterse muziek, met ensembles als Les Talens Lyriques, en voor verschillende artistieke disciplines. Deborah Cachet: sopraan Stefano Landi (1587-1639) Pygmalion, Akademie für Alte Musik Berlin, De productie Divine Madness kon op veel Edouard Catalan: cello T’amai gran tempo, uit Il secondo libro Collegium 1704 (Alphise in Rameaus Les bijval rekenen, in 2018 gevolgd door In My Sofie Vanden Eynde: luit d’arie musicali (1627) Boréades), Correspondances, Le Poème End is My Beginning, een voorstelling rond Bart Naessens: klavecimbel Harmonique, Scherzi Musicali, Les Muffatti, de fascinerende figuur van Mary Stuart Antonio Vivaldi (1678-1741) L’Achéron en a nocte temporis, met wie ze al gecreëerd op Operadagen Rotterdam. Sofie — Cellosonate nr.6, RV46 (1720-30) tal van cd’s opnam. Deborah studeerde in Vanden Eynde nam cd’s op voor de labels - Largo het Lemmensinstituut bij Gerda Lombaerts Paraty, Coro, Ramée, K617, Fuga Libera, Barbara Strozzi (1619-1677) - Allegro en Dina Grossberger waarna ze haar studie Cyprès, Aeolus, Ricercar en Phaedra. Lagrime mie, opus 7 (1659) - Largo vervolgde aan het Conservatorium van - Allegro Amsterdam bij Sasja Hunnego. Momenteel Bart Naessens (BE), opgeleid als organist, Angelo Michele Bartolotti (ca.1600-1668) werkt ze aan haar vocale techniek met klavecinist en dirigent in onder meer Suite in a, uit Secondo libro di chitarra (1655) Georg Friedrich Händel 21 SEP 2019 BIOGRAFIEËN Rosemary Joshua. Brugge, Leuven en Parijs, houdt zich bezig - Preludio Come, oh Dio, uit Agrippina condotta met de meest uiteenlopende repertoires, - Aria a morire (1708) Edouard Catalan (FR) volgde op 7-jarige van vroege polyfonie tot hedendaagse - Capriccio leeftijd zijn eerste cellolessen bij Pierre creaties. Door zijn jarenlange studie van Barbara Strozzi Champagne in Arras. Later studeerde hij de historische uitvoeringspraktijk is hij een Luigi Rossi (ca.1597/98-1653) L’eraclito amoroso, uit Cantate, aan het conservatorium in Reims, waar hij gewaardeerd continuospeler, ensemblelid Ferito un cavaliero, lamento della Regina di ariette e duetti, opus 2 (1651) parallel de barokcello ontdekte in de klas en artistiek leider, onder meer van zijn Svetia (ca.1620-1650) van Pauline Warnier. In 2012 kwam hij dan eigen groepen Capriola di Gioia (sinds naar Brussel om verder te studeren bij 2007) en BachPlus (sinds 2011), met wie hij Georg Friedrich Händel (1685-1759) Hervé Douchy, waar hij in 2017 zijn master inmiddels een aantal zeer warm onthaalde Ah, crudele! uit Armida abbandonata, oude muziek behaalde. Tijdens zijn opleiding cd’s opnam. Als graag geziene figuur in het HWV105 (1708/09) volgde hij verder lessen van Jérôme Pernoo, Brugse is hij sinds 1999 titularis-organist Marie-Thérèse Grisenti, Benjamin Chenier, aan de Sint-Gilliskerk. Hij is sinds kort Georg Friedrich Händel Hélène Dufour, Fabrice Bihan, Xavier docent klavecimbel aan het Koninklijk Suite in E, HWV430 (ca.1710) Gagnepain, David Zelik, Jaap ter Linden, Conservatorium Brussel. Enkele seizoenen - Präludium terwijl hij sindsdien werkte met dirigenten geleden presenteerde Bart Naessens - Allemande als Leonardo García Alarcón, Guy Van Waes, met il Gardellino het klinkende resultaat - Courante en Sigiswald Kuijken en bij ensembles als van zijn doctoraatsonderzoek naar het - Air Les Agrémens, La Petite Bande, Capriola di claviorganum, een in de barok veelgebruikte Jouw applaus krijgt kleur dankzij de Gioia, BachPlus, Svapinga Consort, Scherzi combinatie van klavecimbel en orgel. bloemen van Bloemblad. Musicali en The New Baroque Times. Hij is stichtend lid van het jonge ensemble BarrocoTout, dat enkele seizoenen geleden in Concertgebouw Brugge te horen was. VOCAAL TALENT TELT — 02 — Wellustige tranen Met zijn monumentale doeken vol van zijn voormalige geliefde. Doorheen dit intense menu van ‘Doorheen dit pijnlijke grimassen, fonkelende ogen Ook Luigi Rossi was een gunsteling van schaamteloos gekonkel, gebroken harten en indrukwekkende torso’s, verwikkeld de Barberini-familie, waar hij in dienst en tranen met tuiten, zorgen instrumentale intense menu van in een magistraal spel van licht en trad enkele jaren na de dood van Landi. composities voor de nodige verfrissing. schaduw, behoort Caravaggio tot Toen de familie na het overlijden van paus Elk van de instrumenten mag daarbij even schaamteloos de meest iconische meesters van de Urbanus VIII (alias Maffeo Barberini) uit de het voetlicht stelen van de sopraan. De luit barokschilderkunst. ‘Tenebrismo’, de term gratie viel bij het Vaticaan, volgde Rossi is als eerste aan zet, met een suite uit de gekonkel, gebroken waarmee zijn dramatische toepassing van zijn broodheren naar Parijs, waar hij zijn tweede bundel gitaarmuziek van de naar harten en tranen het chiaroscuro wel eens wordt aangeduid, muziekcarrière met succes verderzette. Na Parijs uitgeweken Italiaan Bartolotti – zelf wordt vooralsnog niet gebruikt in de Frankrijk zou ook de rest van Europa vallen een illustere gitaar- en teorbevirtuoos. met tuiten, zorgen muziek. Jammer, want die vlag zou de voor Rossi’s vloeiende en melodische stijl, die De werken in deze uitgave hinten naar lading van dit concertprogramma perfect zelfs in zijn meest expressieve werk – zoals contemporaine Franse trends en behoren instrumentale dekken: muziek die raast van woede, gloeit Ferito un cavaliero, een lamento op de dood tot de meest vooruitstrevende gitaarmuziek van passie, en de gitzwarte krochten van van de Zweedse koning Gustav II Adolf – het van die tijd. composities voor de de wanhoop doorkruist op zoek naar een lyrische gehalte op peil weet te houden. nodige verfrissing.’ glimp van hoop. Ook uit Händels werkencataloog werd In een vergelijkbare stijl en atmosfeer, maar een suite gekozen, ditmaal bestemd Met een welgemikte greep uit honderd met meer opvallende referenties aan zijn voor klavecimbel. De vier gestileerde jaar muziek van Italiaanse bodem, reist leermeester Claudio Monteverdi, beweent dansen van HWV430 vormen samen dit concertprogramma door de vroeg- ook Francesco Cavalli het verlies van een een archetypische set, die gratie en Met een titel als Drama Queens is het haast en hoogbarok om via grootmeesters geliefde in Volgi, deh volgi il piede. Plot en eloquentie koppelt aan pretentieloos logisch dat dit programma wordt geopend als Händel en Vivaldi de kaap van de personages stammen ditmaal echter uit het contrapunt (het toevoegen van een of en besloten door een van de grandes dames 21 SEP 2019 18e eeuw te ronden. Veteraan in het rijk der mythen: de weeklacht van Procris meer stemmen bij een gegeven melodie) en van de barok. De componist in kwestie 21 SEP 2019 gezelschap is Stefano Landi: pionier van aan het adres van Cephalus werd geplukt een melodisch naturel dat zelfs de meest maakt ook de cirkel van deze toelichting de Romeinse operaschool en favoriet van uit de eerste akte van Gli amori d’Apollo stugge trommelvliezen balsemt. Ster van rond. Want de muziek van Barbara Strozzi de machtige Barberini’s. Landi’s oeuvre e di Dafne – de tweede opera uit Cavalli’s deze compositie is de besluitende Air: een past het ‘tenebrismo’ à la Caravaggio als – met name zijn werk voor de bühne – indrukwekkende oeuvre. variatiereeks gebaseerd op het Engelse gegoten. Strozzi, een gevierd zangeres geeft blijk van een flinke dosis branie en lied The Harmonious Blacksmith, die en leerling van Francesco Cavalli, creatieve experimenteerdrift. Zo is La Met fragmenten uit twee wereldlijke Händel (én de toetsenist van dienst) zowel publiceerde naast een madrigalenbundel morte d’Orfeo (1619) opmerkelijk door solocantates van Georg Frideric van lyrische als virtuoze zijde laat zien. en een verzameling solomotetten enkel de integratie van komische personages, Händel springt het programma bijna ariettas, cantates en aria’s. In Lagrime terwijl Il Sant’Alessio (1632) dankzij 7 decennia verder in de tijd. Terwijl Ah, Even fijnbesnaard is het muzikale mie en L’eraclito amoroso vloeien de massascènes en machinerieën tot de eerste crudel! nel pianto mio het thema van vocabularium van Vivaldi’s cellosonates: tranen rijkelijk, en vallen nog wel meer spektakelopera’s uit de geschiedenis mag de onbeantwoorde liefde onder een een repertoire dat ook de meest parallellen op: welgemikte dissonanties, worden gerekend. Il secondo libro d’arie vergrootglas legt, trekt Agrippina condotta verstokte ‘Vier seizoenen’-scepticus
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