DOCSLIB.ORG

DOCTOR of PHILOSOPHY Handel and His Accompanied Recitatives

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DOCTOR of PHILOSOPHY Handel and His Accompanied Recitatives DOCTOR OF PHILOSOPHY Handel and his accompanied recitatives Gorry, Liam Award date: 2012 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information. Download date: 30. Sep. 2021 Handel and his Accompanied Recitatives by Liam Gorry (B.Mus, M.A) A dissertation submitted in accordance with the regulations for the degree of Doctor of Philosophy School of Creative Arts Queen’s University Belfast May 2012 ii © Liam Gorry 2012 iii For Angela and Peter iv Contents List of tables vi List of examples vii Abbreviations and library insignia x Acknowledgements xiii Abstract xiv Preface xv Introduction 1 - Origin of recitativo accompagnato 2 - Terminology 15 - Handel’s labelling of accompanied recitative 25 - Accompanied recitative labels in Handel’s wordbooks 31 - Accompanied recitatives in modern editions of Handel’s music 39 - Accompanied recitative in early printed editions of Handel’s operas and oratorios 41 - Common practices in Handel’s accompanied recitatives 1. Bar counts and vocal types 49 2. Structural placing of accompanied recitatives 53 3. Time signatures and instrumentation 56 4. Dramatic themes in Handel’s accompanied recitatives 58 - Chapter overview 60 Chapter I. Handel’s accompanied recitatives before England - Accompanied recitative in Hamburg 62 - Handel’s secular cantatas and music for the Roman Catholic Church (1706-1710) 73 - The secular cantatas in context 87 - Accompanied recitatives in Handel’s larger secular works for Italy (1707-1710) 92 - Conclusion 109 v Chapter II. Handel’s accompanied recitatives in works for London and the Earl of Carnarvon (1710-1719) - Introduction 111 - Recitative in London before 1711 113 - Recitative in Handel’s Rinaldo 117 - Accompanied recitative in Handel’s operas for London (1711-1715) 123 - Accompanied recitative in Handel’s early non-Italian works (1713-1717) 133 - Accompanied recitatives in Handel’s music for the Earl of Carnarvon 138 - Conclusion 145 Chapter III. Accompanied recitative in Handel’s Royal Academy operas, and his later opere serie for London (1719-1741) - Introduction 148 - Handel’s Act III for Muzio Scevola 154 - Handel’s accompanied recitatives for his ‘First Academy’ operas, 1721-1728 157 - Orlando, Porpora, and the decline of accompanied recitative in Handel’s later 179 operas - Conclusion: the 1730s 205 Chapter IV. Accompanied recitatives in Handel’s English oratorios and other English language works (1732-1757) - Introduction: English language works (1732-1739) 207 - Characterisation in Handel’s oratorios: Samson as a case study 222 - Divinity and supernatural themes in Handel’s oratorio accompagnati 226 - Jephtha and Handel’s final accompanied recitatives (1750-1759) 234 - Conclusion: Handel’s accompanied recitatives 1740-1752 242 Conclusion 245 - Further thoughts 247 Appendix preface 251 Appendix I. Accompagnati in Handel’s cantatas 254 Appendix II. Handel’s opera accompagnati 258 Appendix III. Accompagnati in Handel’s oratorios and other 275 non-opera/oratorio works Bibliography 297 vi List of tables Introduction Table 0.1, p. 26: Handel’s opera autograph scores: labelling of accompagnati Table 0.2, p. 28: Accompagnati styles and their labels in Handel’s operas Table 0.3, p. 29: Handel’s oratorio autograph scores: labelling of accompagnati Table 0.4, p. 30: Accompagnati styles and their labels in Handel’s English oratorios Table 0.5, pp. 33-37: Accompanied recitative labels in Handel’s oratorio wordbooks Table 0.6, pp. 42-43: Accompanied recitative in early printed editions of Handel’s operas Table 0.7, pp. 46-48: Accompanied recitative in early printed editions of Handel’s oratorios Table 0.8, p. 52: Comparison of vocal types in Handel’s opera and oratorio accompagnati Table 0.9, p. 57: Unusual instrumentation in Handel’s operas and oratorios for London Chapter I Table 1.1, p. 74: Handel’s accompanied recitatives for Italy 1706-1710 Table 1.2, pp. 78-79: Nature settings in the cantata accompanied recitatives Table 1.3, p. 90: The use of invocations and prayers in Handel’s cantata accompagnati Chapter II Table 2.1, p. 112: Handel’s accompanied recitatives 1710-1719 Chapter III Table 3.1, p. 153: Handel’s opera seria accompanied recitatives for Senesino (1720- 1733) Table 3.2, p. 194: The number of accompanied recitatives in Porpora’s operas Table 3.3, p. 197: Handel’s leading castrati 1734-1736 vii Chapter IV Table 4.1, p. 208: Handel’s English language works that feature accompagnati, 1730- 1739 Table 4.2, p. 215: Additional instruments in Handel’s accompagnati (1704-1752) Table 4.3, p. 219: Handel’s accompanied recitatives for John Beard (1736-1752) Table 4.4, p. 227: Accompanied recitatives given to non-believers Table 4.5, p. 237: Works featuring accompanied recitatives 1750-1759 Table 4.6, p. 239: Structural analysis between HWV 71 and HWV 46a Table 4.7, p. 243: Handel’s accompanied recitatives decade by decade List of examples Introduction Example 0.1a, p. 3: Claudio Monteverdi, label prefixed to ‘Sol tu nobile Dio’ (Act III), Orfeo Example 0.1b, p. 4: Claudio Monteverdi, ‘Sol tu nobile Dio’ (Act III), Orfeo Example 0.2, p. 18: Rousseau’s description of the three accompanied recitative styles Examples 0.3a,b,c, pp. 19-20: The three accompanied recitative styles: (a) Recitativo accompagnato: G.F. Handel, ‘Oh! Mirtillo, Mirtillo’ (Act III, scene 7), Il Pastor Fido; (b) Measured recitative: G.F. Handel, ‘Han’ penetrato i detti tuoi l’inferno, ei Numi’ (Act III, scene 4), Amadigi; (c) Recitativo obbligato: G.F. Handel, ‘Se falsi siete’ (Act III, scene 3), Muzio Scevola Chapter I Example 1.1, p. 67: Reinhard Keiser, ‘Beschwängert euch ihr Lüftte’ (Act III, scene 1), Nebucadnezar (autograph: D Bsb - Mus.ms. autogr. Keiser 3) Example 1.2, p. 82: G.F. Handel, ‘Oh! Che da fiere pene’, Spande ancor a mio dispetto Example 1.3, p. 85: G.F. Handel, ‘Che vidi, che mirai’, La terra è liberata (Apollo e Dafne) viii Example 1.4, p. 94: G.F. Handel, ‘Eccelso Giove’ (Act III, scene 2,), Rodrigo (Shaftsbury collection - D 15: currently in the Coke collection) Example 1.5, p. 99: G.F. Handel, ‘Ma che insolita luce squarcia le tende’, La Resurrezione Example 1.6, p. 101: G.F. Handel, ‘Di rabbia indarno freme’, La Resurrezione Example 1.7a, p. 103: G.F. Handel, ‘O voi dell’ incostante’, Dietro l’orme fugaci (Armida abbandonata) Example 1.7b, p. 104: G.F. Handel, ‘Prelude’ (Act II, scene 3), Agrippina Example 1.8a, p. 107: G.F. Handel, ‘Che vidi, che mirai’, La terra è liberata (Apollo e Dafne) Example 1.8b, p. 108: G.F. Handel, ‘Otton, Otton, qual portentoso fulmine è questi’ (Act II, scene 5), Agrippina Chapter II Example 2.1, p. 116: Thomas Clayton, Arsinoe, Queen of Cyprus, ‘Preface’ Example 2.2a, p. 120: G.F. Handel, ‘O voi, dell’incostante’, Dietro l’orme fugaci (Armida abbandonata) Example 2.2b, p. 121: G.F. Handel, ‘Dunque i lacci d’un volto’ (Act II, scene 8), Rinaldo Example 2.3, p. 124: G.F. Handel, ‘Ira, sdegni, e furore’ (Act II, scene 6), Teseo (autograph: GB Lbl - R.M.19.e.6) Example 2.4, p. 125: G.F. Handel, ‘Ombre, sortite dall’eterna notte’ (Act III, scene 6), Teseo Example 2.5, p. 137: G.F. Handel, ‘Das ist mein Leib’, Brockes Passion Example 2.6a, p. 143: G.F. Handel, ‘Mein Vater’ (bars 1-8), Brockes Passion Example 2.6b, p. 144: G.F. Handel, ‘Turn not, O Queen’, Esther Chapter III Example 3.1, pp. 159-160: G.F. Handel, ‘Sorte nemica’, and ‘Sorte nemica’ (Act II, scene 9), Il Floridante Example 3.2, p. 162: G.F. Handel, Giulio Cesare in Egitto… wordbook, p. 69 ix Example 3.3, p. 167: G.F. Handel, ‘Pompe vane di morte’, and ‘Dove sei’ (Act I, scene 6), Rodelinda (December revival 1725) Example 3.4, p. 169: G.F. Handel, ‘Chi di voi fu più infedele’, and ‘Ma non so che dal remote balcon’, Rodelinda (December revival 1725) Example 3.5a, p. 182: G.F. Handel, ‘Imagni funeste’ (Act I, scene 3), Orlando Example 3.5b, p. 182: G.F. Handel, ‘Già per la man d’Orlando d’ogni mostro più rio’ (Act III, scene 8), Orlando Example 3.5c, p.
Load more

Recommended publications
  • November 15, 1959 776Th Concert
    NATIONAL GALLERY ORCHESTRA Richard Bales, Conductor Violins: Cellos: Mark Ellsworth Ana Drittelle Helmut Braunlich Helen Coffman Henri Sokolov Basses: Raul Da Costa Charles Hamer Dino Cortese Joseph Widens Michael Serber Oboes: THE A. W. MELLON CONCERTS Joel Berman Beth Sears Elinore Tramontana Donald Hefner Eugene Dreyer Bassoon: Isadore Glazer Dorothy Erler Maurice Myers Collin Layton Trumpets: National Gallery of Art Samuel Feldman Richard Smith George Gaul Charles Gallagher, Jr. Washington, D. C. Carmen Parlante Violas: Frank Perricone Leon Feldman T ympani: Barbara Grzesnikowski Walter Howe 776th Concert CHURCH OF THE REFORMATION CANTATA CHOIR Jule Zabawa, Minister of Music Sopranos Altos Tenors Basses Marilyn Krummel Mary Lou Alexander Otto Kundert Harald Strand Eleanor Pressly Mary Forsythe Stephen Beaudry Gerard Siems Handel Bicentennial Program Julia Fromm Blosson Athey Arleigh Green Gilbert Mitchell Julia Green Estella Hyssong Robert Ernst Donald Robinson Patricia Foote Virginia Jones Joseph Agee Richard Foote Dorothy Richardson Marion Kahlert Leslie Polk Glenn Dabbs Ruth Siems Betty Ann Dabbs John Nordberg Edward Bachschmid Sunday Evening Beatrice Shelton Marilyn Smith Charles Kalb Fred Bloch Virginia Mitchell Jane Bennett Donald Krummel Rudolf Michel November 15, 1959 Marion Bradley Barbara Bachschmid John Kjerland John Ramseth Dorothy Moser Jeanne Beaudry Hilman Lund Kay Sisson Mary Bentley Gerald Wolford Norma Grimes Lydia Bloch Austin Vicht Lydia Nordberg Phyllis Wilkes Marion Kalb Ruth Schallert Betty Schulz Lucy Grant AT EIGHT O’CLOCK Hazel Rust Beverly Isaacson Christine Agee Moreen Robinson Bertha Rothe Vivian Schrader Clara Rampendahl lone Holmes IN THE EAST GARDEN COURT Diane Diehl NATIONAL GALLERY ORCHESTRA GEORGE FREDERIC HANDEL CHURCH OF THE REFORMATION CANTATA CHOIR (1685-1759) Concerto Grosso in A Major, Opus 6, No.
    [Show full text]
  • Handel's Sacred Music
    The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have
    [Show full text]
  • Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
    Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation.
    [Show full text]
  • Senior Recital Rebecca Robles Chapman University
    Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-22-2009 Senior Recital Rebecca Robles Chapman University Cheryl Lin Fielding Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Robles, Rebecca and Fielding, Cheryl Lin, "Senior Recital" (2009). Printed Performance Programs (PDF Format). Paper 548. http://digitalcommons.chapman.edu/music_programs/548 This Senior Recital is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Conservatory ofMusic presents a Senior Recital Rebecca Robles, soprano Dr. Cheryl Lin Fielding, pianist March 22, 2009 • 8:00 P.M. Salmon Recital Hall Program Cantata Georg Frideric Handel Aria: Crudel tiranno amor {1685-1759) Recitativo: Ma tu mandi al mio core Aria: 0 dolce mia speranza Recitativo: Senza te, dolce speme Aria: 0 cara speme Maria Myrick, Violin • Jarrett Threadgill, Viola Daphne Medina, Violin • Scott Kawai, Cello II Four Folk Songs Maurice Ravel Spanish (1875-1937) French Italian Hebrew III Steal Me Gian Carlo Menotti from The Old Maid and the Thief (1911-2007) Dan St.Marseille, Clarinet Intermission IV The Daisies Samuel Barber Nuvoletta {1910-1981) My Lizard v Standchen Richard Strauss Du meines Herzens Kronelein {1864-1949) Cacilie This recital is. in partial fulfillment of the requirement for a Bachelor of Music in Vocal Performance. Ms. Robles is a student of Dr. Peter Atherton.
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • 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.
    [Show full text]
  • HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009
    CORO CORO HANDEL: Coronation Anthems Winner of the Gramophone Award for cor16066 Best Baroque Vocal Album 2009 “Overall, this disc ranks as The Sixteen’s most exciting achievement in its impressive Handel discography.” HANDEL gramophone Choruses HANDEL: Dixit Dominus cor16076 STEFFANI: Stabat Mater The Sixteen adds to its stunning Handel collection with a new recording of Dixit Dominus set alongside a little-known treasure – Agostino Steffani’s Stabat Mater. THE HANDEL COLLECTION cor16080 Eight of The Sixteen’s celebrated Handel recordings in one stylish boxed set. The Sixteen To find out more about CORO and to buy CDs visit HARRY CHRISTOPHERS www.thesixteen.com cor16180 He is quite simply the master of chorus and on this compilation there is much rejoicing. Right from the outset, a chorus of Philistines revel in Awake the trumpet’s lofty sound to celebrate Dagon’s festival in Samson; the Israelites triumph in their victory over Goliath with great pageantry in How excellent Thy name from Saul and we can all feel the exuberance of I will sing unto the Lord from Israel in Egypt. There are, of course, two Handel oratorios where the choruses dominate – Messiah and Israel in Egypt – and we have given you a taster of pure majesty in the Amen chorus from Messiah as well as the Photograph: Marco Borggreve Marco Photograph: dramatic ferocity of He smote all the first-born of Egypt from Israel in Egypt. Handel is all about drama; even though he forsook opera for oratorio, his innate sense of the theatrical did not leave him. Just listen to the poignancy of the opening of Act 2 from Acis and Galatea where the chorus pronounce the gloomy prospect of the lovers and the impending appearance of the monster Polyphemus; and the torment which the Israelites create in O God, behold our sore distress when Jephtha commands them to “invoke the holy name of Israel’s God”– it’s surely one of his greatest fugal choruses.
    [Show full text]
  • 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).
    [Show full text]
  • George Frideric Handel Cc 9127 George Frideric Handel
    GEORGE FRIDERIC HANDEL CC 9127 GEORGE FRIDERIC HANDEL male lead in The Bear for Hemsley, who played it under the composer on BBC Television in George Frideric Handel (1685-1759) 1970. His book Singing and Imagination is a lucid guide to his finely-honed art. = `çåÅÉêíç=áå=_JÑä~í=ets=OVQ=léK=Q=kçK=S=ENTPSF= NNKNN Geraint Jones (1917-98). The son of a Glamorgan minister, Jones studied at the Royal 1-3 I Andante allegro 3.53 2 II Larghetto 4.31 3 III Allegro moderato 2.53 Academy of Music before being rejected for World War II service on grounds of poor health. Osian Ellis, harp. The Boyd Neel Orchestra directed by Thurston Dart Determined to ‘do his bit’, he made his debut as a harpsichordist in 1940 at one of Myra Hess’s A BBC studio broadcast, 26 February 1957 National Gallery concerts, later touring widely with his wife, the violinist Winifred Roberts. After the war he became highly influential in the ‘authentic’ baroque movement, forming his own = ^éçääç=É=a~ÑåÉ=ets=NOO=ENTNMF= QPKMR orchestra for the acclaimed performances at London’s Mermaid Theatre in 1951 of Dido and Aeneas, with Kirsten Flagstad and Thomas Hemsley. Jones’s many recordings included Dido 4 Recitative and Aria Apollo ‘La terra è liberata … Pende il ben dell’universo’ 5.18 (The earth is set free … The good of the universe) with those singers (plus Elisabeth Schwarzkopf as Belinda and Arda Mandikian as the 5 Recitative and Aria Apollo 3.54 Sorceress) as well as music by Bach, Handel and Mozart.
    [Show full text]
  • 12-04-2018 Traviata Eve.Indd
    GIUSEPPE VERDI la traviata conductor Opera in three acts Yannick Nézet-Séguin Libretto by Francesco Maria Piave, production Michael Mayer based on the play La Dame aux Camélias by Alexandre Dumas fils set designer Christine Jones Tuesday, December 4, 2018 costume designer 8:00–11:00 PM Susan Hilferty lighting designer New Production Premiere Kevin Adams choreographer Lorin Latarro DEBUT The production of La Traviata was made possible by a generous gift from The Paiko Foundation Major additional funding for this production was received from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,012th Metropolitan Opera performance of GIUSEPPE VERDI’S la traviata conductor Yannick Nézet-Séguin in order of vocal appearance violet ta valéry annina Diana Damrau Maria Zifchak flor a bervoix giuseppe Kirstin Chávez Marco Antonio Jordão the marquis d’obigny giorgio germont Jeongcheol Cha Quinn Kelsey baron douphol a messenger Dwayne Croft* Ross Benoliel dr. grenvil Kevin Short germont’s daughter Selin Sahbazoglu gastone solo dancers Scott Scully Garen Scribner This performance Martha Nichols is being broadcast live on Metropolitan alfredo germont Opera Radio on Juan Diego Flórez SiriusXM channel 75 and streamed at metopera.org. Tuesday, December 4, 2018, 8:00–11:00PM MARTY SOHL / MET OPERA Diana Damrau Chorus Master Donald Palumbo as Violetta and Musical Preparation John Keenan, Yelena Kurdina, Juan Diego Flórez Liora Maurer, and Jonathan
    [Show full text]
  • Fedel E Costante
    CORO The Sixteen Edition CORO live The Sixteen Edition Other Sixteen Edition recordings available on CORO Heroes and Heroines cor16025 Delirio Amoroso cor16030 Sarah Connolly - Handel arias Ann Murray - Handel Italian secular cantatas Harry Christophers Harry Christophers The Symphony of The Symphony of Harmony & Invention Harmony & Invention "Connolly seals her "...a dazzling revelation... reputation as our best Ann Murray sings Handel mezzo in many superlatively." years." bbc music magazine financial times Vivaldi: Gloria in D Allegri - Miserere cor16014 Fedel e Costante Bach: Magnificat in D cor16042 & Palestrina: Missa Papae Marcelli, Stabat Mater Russell, Fisher, Lotti: Crucifixus Browner, Partridge, "Christophers draws HANDEL ITALIAN CANTATAS George brilliant performances from "Singing and playing his singers, both technically on the highest level." assured and vividly Elin Manahan Thomas bbc music magazine impassioned." the guardian Principals from The Symphony To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16045 of Harmony and Invention There are many things about The Sixteen her unique amongst her peers. This live elcome to the world of four that make me very proud, above all the recital of Handel Italian Cantatas was part of women, all of whom have nurturing of future talent. Over the years, the 2006 Handel in Oxford Festival. Those Wbeen betrayed by love and its we have produced some outstanding who were actually present at that concert deceitful charms, to varying degrees and performers; among them are Carolyn were witness to a performance of captivating for numerous reasons. Sampson, Sarah Connolly, Mark Padmore, communication and sparkling intelligence. Agrippina condotta a morire pretends Christopher Purves and Jeremy White.
    [Show full text]
  • 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
    [Show full text]