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Home , Armida (Weir), Armida abbandonata, Cantata, Eltham Palace, Harry Bicket, Lucy Crowe

HANDEL THE ITALIAN 9th of October 2020 - Lucy Crowe - Soprano Harry Bicket - Director WELCOME PROGRAMME

From Somerset House Between serving his musical apprenticeship Handel Strand Rodrigo in and making his name in , Harry Bicket London WC2R 1LA Handel spent almost three years in Italy, where Handel Artistic Director / www.somersethouse.org.uk he was exposed to the latest compositional and Alpestre Monte HWV81 Harpsichord vocal techniques — and also quickly acquired Somerset House is London’s working arts centre built on historic foundations a remarkable affinity at setting the Italian JE Galliard Lucy Crowe around one of the most beautiful Bassoon in G courtyards in Europe. language to music. Soprano

Situated at the very heart of the capital, Handel Led by The English Concert’s musical director we are home to the UK’s largest and Lascia la spina from Il trionfo del tempo e most exciting creative community and Harry Bicket, Lucy Crowe gives an intimate recital are overflowing with new ideas, young del dissinganno HWV46a businesses and fresh perspectives. featuring some of Handel’s finest Italian-texted music, including the dramatic cantata Handel Dedicated to backing progress, championing openness, nurturing abbandonata (HWV 105), interpolated with a HWV 105 creativity and empowering ideas, our number of his most original instrumental works. cultural programme is ambitious in scope. We insist on relevance, but aren’t afraid of irreverence, and are as keen on entertainment as enrichment. We embrace the biggest issues of our times (recent exhibitions and installation have addressed climate change and the work of Black creative pioneers), but are equally committed to the delicate task of oxygenating new work by emerging artists.

Likewise, though we reside in an iconic neo classical building, justly famous as the 18th century architect William Chambers’ seminal masterpiece, we are at our best when navigating the now and powering the new.

Cover image of Lucy Crowe by Victoria Cadisch PROGRAMME NOTE

George Frideric Handel HANDEL (1685–1759) OVERTURE FROM RODRIGO HWV5 THE ITALIAN Ouverture At the age of eighteen George Frideric his time in Rome, and there the production Gigue Handel (1685-1759) gave up his half- of had been banned by the pope Sarabande hearted study of the law at the University of (following a carnival scandal in 1677). Matelot Halle to join the pit orchestra in Hamburg Instead, three aristocratic establishments, Bourée ’s Goose Market Theatre as a led by two Cardinals, Pamphili and Rigaudon violinist. He was a good violinist, no doubt, Ottoboni, and the wealthiest man in but it was his skills at the keyboard and as a Rome, the Marchese Francesco Ruspoli, On arrival in Italy Handel certainly did not neglect to cultivate his original potential composer that began to attract attention, vied with each other to mount the most patrons, the Tuscan Medicis. Rodrigo, his first opera written in Italy, was premiered in the and within two years the Hamburg sumptuous private performances, and it autumn of 1707 at the Teatro del Cocomero in Florence. The location strongly suggests company presented his first opera, . was for Ruspoli that Handel composed that this was a Medici commission even if there is scant actual evidence. The opera half of his 80 secular Italian cantatas. concerns a Spanish king, Rodrigo, who callously casts aside his mistress Florinda after she Handel’s reputation grew rapidly, and In truth there was very little difference, has given birth to his illegitimate son, thus prompting a rebellion by her brother Giuliano that same year, 1705, he was invited to except in length, between cantatas and and a mutinous prince (and rightful king) Evanco. Rodrigo is eventually saved from death Florence under the patronage of Gian opera: both alternated secco by his long-suffering wife Esilena and abdicates, proclaiming the opera’s full title ‘Vincer Gastone de Medici, later the last Medici with da capo , with many of the arias se stesso è la maggior vittoria’ (to conquer oneself is the greatest victory). ruler of Tuscany, then on a visit to Hamburg. being intensely dramatic. Nor did clerical For a young composer ambitious to learn patronage appear to inhibit the subject Rodrigo is the first dramatic work in which Handel fully embraced the Italian style in the everything he could about Italian opera matter of the cantatas: love was usually recitativo and arias, and as such represents an important landmark in his development. it was the most natural finishing school, in the air, sometimes in mythological But the extended overture is an exception, cast in the (then) traditional Franco-German but, with characteristic self-belief, Handel settings, sometimes loosely historical and form of a Suite (such as the Bach , for example). For this reason several turned the opportunity down, determined to often in a fantasy world of fickle nymphs scholars have plausibly suggested that it began life as an independent work, written the make the trip under his own steam without and shepherds swooning from the pain of previous year in Hamburg before he left for Italy. It certainly makes a highly effective being beholden to any one patron. He Cupid’s darts. The tone was captured by a concert suite, with a series of characterful dances framed between one of his most delayed his departure for a year, eventually sharp-tongued French diplomat of the time concisely effective . arriving in Italy in the autumn of 1706. who described Ottoboni as “sans moeurs, sans crédit, débauché, ruiné, amateur des There followed three and a half successful arts, grand musicien”! Handel flourished in Italian years, during which Handel wrote this gilded environment and was welcomed some of his most brilliant vocal works but, by all the most notable musicians, including as it turned out, only two complete operas. Corelli and the Scarlattis, father and son. The reason was simple : he spent most of Recitativo Quindi men vengo a voi per cercar morte, Thus I go to you looking for death, (1685–1759) ch’il mio duol è sì forte for my pain is so great Cantata Alpestre monte HWV 81 da non trovar mai pace altro ch’in lei. that I can find no peace elsewhere.

Amo ninfa gentile, e l’amo tanto I love a gentle nymph, and so deeply Handel made several more journeys to Tuscany over the next the next three years as he che per soverchio amore that through a fierce love received significant commissions from Florence and from Venice in addition to his regular al fin perdei me stesso, I finally lost myself and my heart, ‘standing orders’ for the great patrons in Rome. The cantata Alpestre Monte was written e il cor perdei dalla gran fiamma oppresso. oppressed by great passion. during one of his first visits, in 1707: a melancholy lover wanders through the desolate Apennines lamenting the loss of his nymph. Resolving at last to commit suicide, he hopes Ahi! Nice! Ahi di mia morte aspra cagione, Ah! Nice! bitter cause of my death through that she will visit his grave. Handel’s treatment of this very characteristic text reveals not non per tua colpa, ma per mio destino; no fault of yours, but by my fate; only his technical mastery of the Italian style but also his developing fascination with the emotional life of his characters which was to be such an essential preoccupation in his se l’amarti è delitto, If it is a crime to love you, operas over the next thirty years. vuò morendo punire I want, in dying, to punish di mie pupille il temerario ardire. the reckless temerity of my eyes. Accompagnato Alpestre monte e solitaria selva Alpine mountain and solitary forest, triste albergo d’orror, nido di fere, sad refuge of fear, lair of wild beasts, Almen dopo il fato mio I ask only that after my fate is sealed triste albergo d’orror, nido di fere, in the gloomy black shadows of your breast, vieni a dar l’estremo addio you come and bid a last farewell del vostro sen, celate you hide this unhappy and desperate lover alla fredda spoglia esangue. To my cold, bloodless body. quest’infelice e disperato amante who, pain-stricken, drags his steps ch’a voi, pieno di duoi, move le piante. towards you. Per temprar il mio gran duolo To temper my great agony, s’io t’offersi il pianto solo, where I only offered you weeping, Aria ecc’or t’offro ancora il sangue. here, now, I also offer you my blood. Io so ben ch’il vostro orrore I know well that the horror you inspire is a è un’imago del mio core, reflection of my heart, è un’idea del mio pensiere. and the state of my mind. Come in questo atro soggiorno As in this surrounding gloom, così stanno al core attorno so my heart is surrounded by shadows, ombre, larve, orride e fiere. horrible and fierce ghosts. Johann Ernst Galliard George Frideric Handel (1687-1749) (1685–1759) Sonata in G for bassoon & continuo ‘Lascia la spina’ from Il Trionfo del Tempo e del Disinganno HWV46a Andante

Vivace Lascia la spina comes from Handel’s allegorical cantata Il trionfo del tempo e del Alla Siciliana Disinganno written in 1707 to an allegorical text by Cardinal Pamphili, one of his three Spiritoso e Allegro great patrons in Rome. Belleza (Beauty) is tempted to follow the immoral ways of Piacere (Pleasure) but is eventually rescued by the combined counsels of Tempo (Time) and While Handel was on his way to Rome, another German musician, two years his junior, was Disinganno (Disillusion). Piacere, realising that Belleza, hitherto so vain, is turning to virtue about to arrive London. Johan Ernst Galliard was a virtuoso oboist and recorder player (a and godliness, makes a last attempt to win her back by singing ‘Lascia la spina’ in which common combination in the 18th Century) as well as an aspiring composer whose story is she holds out the prospect of a life free from pain (la spina) and decay (the frost that kills typical of so many of the musicians from continental Europe who brought such vibrancy the rose). You must admit that it sounds plausibly appealing. to the London music scene. Galliard trained at the Court of Hanover (where Handel was briefly to be employed on his own path to London) before taking a post in Denmark en Lascia la spina, Leave the thorn, route to London where he remained for the rest of his life. cogli la rosa; pluck the rose; tu vai cercando you go searching Galliard’s formal position in London was organist for the Queen’s Chapel at Somerset il tuo dolor, for your sorrow House. The chapel had been added to the existing building by Charles I when Somerset tu vai cercando you go searching House had enjoyed a brief period as the residence of the Catholic Stuart queens and il tuo dolor. for your sorrow. focal point for the Catholic faith in a formally Protestant establishment. By the time that Galliard arrived there no longer a need for a separate establishment for royal wives, so, Canuta brina Hoary frost although the Queen’s Chapel maintained a staff (at royal expense), its influence was in per mano ascosa, by secret ways, steady decline. Galliard, therefore, had plenty of time to pursue a career as a composer giungerà quando even when your heart of operas and pantomimes. His operas were generally unsuccessful, although admired by nol crede il cor. will not believe it. Handel (who even contributed an obbligato to one of them, ) but the pantomimes enjoyed popularity for a while; these were productions under one hour long with numerous effects that audiences enjoyed including frequent of Italian opera itself. Galliard was unfortunate, in a sense, to be outshone as a composer by Handel and Bononcini, and in 1713 he joined Handel’s newly formed Italian Opera as principal oboist. He continued to compose occasional ‘official’ works as part of his Somerset House duties (notably a and Jubilate to celebrate the Duke of Malborough’s victories) and a few instrumental works of which only three sets of , six each for flute, violoncello and bassoon have survived. This G major sonata has variety and charm, and a confident quality which evidently earned Handel’s respect for his fellow-countryman and adopted Londoner. Cantata Armida abbandonata HWV 105 ARIA Ah! crudele, e pur ten’ vai Ah! cruel one! You are going,

e mi lasci in preda al duolo, leaving me prey to grief, There is no doubt about the date of the dramatic cantata Armida abbandonata, for e pur sai che sei tu solo and yet you know that you alone are my which a copyist’s bill for 30 June 1707 exists for producing performance material for one il diletto del mio cor. heart’s delight. of the Sunday concerts in the of Marchese Francesco Ruspoli. The cantata is one Come, ingrato, e come puoi How, ungrateful man, can you deprive this of Handel’s most ambitious, both in terms of vocal range and elaborate instrumental involare a questo sen heart of mine . Handel was evidently hugely inspired by the depth of musical talent il seren de’ lumi tuoi of the calm of your eyes When I am all on he found in Rome, especially in the quality of the vocal stars. The first soprano soloist in se per te son tutta ardor? fire for you? Armida abbandonata was the young Margherita Durastanti who subsequently made two extended visits to London to sing in Handel’s productions in the early 1720s (notably Recitativo and ) and again in the 1730s (by which time her voice must have Per te mi struggo, infido For you I pine, faithless man, been more in the mezzo-soprano range judging by Handel’s casting decisions). per te languisco, ingrato; for you I languish, ungrateful man, ah! pur lo sai ah! you know that Armida is based on an episode from ’s Gerusalemme liberata (a subject che sol da’ tuoi bei rai by your bright eyes Handel returned to in his opera ). The intensely dramatic sequence of per to piagato ho il seno, has my heart been wounded, and arias depicts the Saracen sorceress Armida who has cast her spells over the Christian e pur tu m’abbandoni, and yet you desert me, knights but finds herself nevertheless deserted by her soldier-lover Rinaldo. At first she infido amante. faithless lover. laments his absence but then becomes enraged, calling forth the ‘monsters of the deep’ to punish him. She soon discovers, though, that, despite his faithlessness, she still loves him. Accompagnato The monsters are called off and she prays to the god of love to help her forget him. O voi, dell’incostante O ye fearsome monsters e procelloso mare of the wayward orridi mostri and tempestuous sea, Recitativo dai più profondi chiostri from your deepest caverns Dietro l’orme fugaci Following wearily in the footsteps of the a vendicarmi uscite, come forth to avenge me, del guerrier, che gran tempo in lascivo fleeing warrior, who for long had lain e contro quel crudel and rage against soggiorno ascoso area, concealed in lascivious dalliance, incrudelite! this cruel man. Armida abbandonata Armida, now deserted, Si, sia vostro il vanto Yes, with your pride. il piè movea; followed fast; e del vostro rigore and your strength, e poi che vidde al fine and then, when at last she saw un mostro lacerar let a huge monster che l’oro del suo crine, that her golden tresses, di voi maggiore. tear him to pieces. i vezzi, i sguardi, i preghi non han forza che her charms, her glances, her prayers had no Onde, venti, che fate, Waves, winds, what are you doing, leghi il fuggitivo amante, power to hold her escaping lover, che voi nol sommergete? that you do not overwhelm him? fermò le stanche piante, she ceased her weary lamenting, and Ah no!, fermate! Ah! No! stop! e affisa sopra un scoglio, calma di rio motionless on a rock, cordoglio, a quel leggiero abete mute with cruel grief, che il suo ben le rapia, upon the slender mast le luci affisse, which bore her beloved away, piangendo e sospirando, così disse: with fixed gaze, weeping and sighing, spoke thus: ARIA Venti, fermate, sì, Winds, desist, yes, nol sommergete; do not drown him; è ver che mi tradi, it is true he betrayed me, ma pur l’adoro. but I still adore him. Onde crudeli, no, Cruel waves, no, non l’uccidete; do not kill him; è ver che mi sprezzo, it is true he rejected me ma è il mio tesoro. but I treasure him still.

Recitativo Ma che parlo, che dico? But what am I saying? Ah! ch’io vaneggio: Ah! I am raving: e come amar potrei un traditore, and how, unhappy heart, infelice mio core? could you love a traitor? Rispondi, o Dio, rispondi. Answer me, o God, answer. Ah! che tu ti confondi, Ah! you are confused, dubbioso e palpitante; uncertain and agitated; vorresti non amare, you would that you love not, e vivi amante. but yet you love. Spezza quel laccio indegno Break that unworthy shackle che tiene avvinto ancor which still binds gli affetti tuoi. your affections. Che fai, misero cor? What are you doing, wretched heart? Ah! tu non puoi. Ah! you cannot.

ARIA In tanti affanni miei In such anguish Assisti mi almen tu, you must help me, nume d’amore. god of love. E se pietoso sei, And if you are merciful, fa ch’io non ami più make me love no more quel traditore. this traitor. after Torquato Tasso (1544 – 1595)

© Felix Warnock, September 2020 BIOGRAPHIES

HARRY BICKET LUCY CROWE ARTISTIC DIRECTOR / HARPSICHORD SOPRANO Born in Staffordshire, Lucy Crowe studied at the Royal Internationally renowned as an opera and concert conductor Academy of Music, where she is now a Fellow. of distinction, Harry Bicket is especially noted for his interpretation of baroque and classical repertoire and since With repertoire ranging from Purcell, Handel and 2007 has been Artistic Director of The English Concert, one of Mozart to Donizetti’s Adina and Verdi’s Gilda she has Europe’s finest period orchestras. In 2013, following regular sung with opera companies & orchestras throughout the guest appearances for Santa Fe Opera, he became their Chief world, including , Covent Garden, the Conductor and in 2018 assumed the Music Directorship. Since Glyndebourne Festival, , the Teatro taking up his position, he has conducted Cosi fan tutte, Fidelio, Real Madrid, the Deutsche Oper Berlin, the Bavarian La Finta Giardiniera, Romeo et Juliette, and Candide. In State Opera, New York, City of the 2019 season, he also performed Strauss’ Four Last Songs Birmingham Symphony Orchestra with Haïm, Oramo and with Renée Fleming. Born in Liverpool, Harry studied at the Nelsons, The Berlin Philharmonic and Vienna Philharmonic Photo: Richard Haughton Royal College of Music and the . Photo: Victoria Cadish under Nelsons, Orchestra of the Age of Enlightenment under Egarr, Scottish Chamber Orchestra under Nézet- In September 2020, together with The English Concert, he Séguin, the Monteverdi Orchestra under Gardiner, and the recorded Handel’s , wich will be released in the Orchestra dell’Accademia Nazionale di Santa Cecilia with Spring of 2021. Pappano.

In September 2020, together with The English Concert, she recorded the tile role in Handel’s Rodelinda, wich will be released in the Spring of 2021 BIOGRAPHIES

KATRIN LAZAR BASSOON

Katrin Lazar is a German bassoonist, born in London of American and German parentage. After a very musical childhood playing recorder, violin, piano and singing, she specialised on early music. She studied recorder and historical bassoon at the music university in Frankfurt as well as at the Koninklijk Conservatorium, the Hague, NL.

Katrin lives in Munich and teaches at the Musikhochschule Munich and Frankfurt. Her freelance concert activity takes her all over Europe and to many parts of the world, including Japan, China, South Korea, Taiwan, Russia, South America , Photo: Theresa Pewal North America.

As a member of numerous early music groups such as Akademie für Alte Musik Berlin, Internationale Bachakademie Stuttgart, Hofkapelle München, Barocksolisten München, Collegium 1704, Il Pomo d’Oro, Balthasar-Neumann- Ensemble, Elbipolis and The English Concert, Katrin can be heard as soloist as well as performing orchestral works in bigger formations. THE ENGLISH CONCERT

The English Concert is an outstanding continue to help us shape the way we perform. Violin I orchestra: exceptional, in the world-renowned One cornerstone of the orchestra’s annual Nadja Zwiener quality, ambition and variety of its live and cycle is its international Handel opera series. Violin II recorded output; unique, in the zeal of its Blossoming from an ongoing relationship Julia Kuhn players for working and performing together; with Carnegie Hall, the tour regularly takes in Viola unwavering, in its desire to connect with its an ever-increasing roster of the world’s great Alfonso Leal del Ojo audience throughout the world. concert halls, from and Théâtre des Champs-Elysées, to Hamburg’s Violoncello Joseph Crouch Under the artistic direction of Harry Bicket Elbphilharmonie and London’s Barbican. and principal guest Kristian Bezuidenhout, Meanwhile, our regular London series allows Double bass The English Concert has earned a reputation us to explore a radically different path, Christine Sticher for combining urgency, passion and fire with presenting programmes to our home audience Bassoon Katrin Lazar precision, delicacy and beauty. that challenges and inspires us. Theorbo The artistic partners we collaborate with Toby Carr reflect and enhance our pursuit for new ways We launched our partnership with Garsington to bring our music to life. Opera last year with performances of Harpsichord is copied from an instrument by Carlo Monteverdi’s Vespers of 1610 and despite Grimaldi (Sicily 1697) by Andrew Wooderson Joyce DiDonato, Dame Sarah Connolly, the ravages of the current pandemic, we look (Bexley 2001). Provided and tuned by Simon Neal , Alison Balsom, Trevor forward to our opera there next year, Handel’s Pinnock, Dominic Dromgoole, Tom Morris Amadigi, Re di Gaula. and many more have not only brought their extraordinary skills to individual projects, but THANK YOU SUPPORT OUR WORK

The English Concert would like to thank Sponsors & Charitable Trusts Silver Patrons Wendy Kristianasen David Sanderson the following sponsors, trusts, donors Westminster City Council Alan & Seema Harley Alan Leibowitz & Barbara Weiss Brian Self and friends for their valued support Kathleen Hannay Memorial Greta Hemus-Cools H Alastair McKerlie Marilyn Stock and generosity, without which our Charity Javan Herberg & Jessica Boyd Jeanne de Nazelle Rodney & Caroline Waldes programme could not take place. Reed Foundation Alfred Patrick Johnson Linda de Nazelle Alan Ward

Sir John Fisher Foundation Mr & Mrs Timothy Llewellyn Elizabeth Newlands George Warren

Please contact The Radcliffe Trust David Rendell & Ali Smith Adrian Osborn Marie Winckler [email protected] if Arts Council England Kimiko Shimoda Martin Perkins and various anonymous donors you would like to find out more about Robert & Virginia Stoppenbach Sue Prickett & Bill Bryer supporting The English Concert. To Core40 Richard Teed Scott Redford become a regular supporter of our George & Daphne Burnett Bronze Patrons Lucy & William Rickett work, you can also visit Alan Gemes Geoffrey Barnett englishconcert.co.uk Dr Richard Golding Eric & Tilly Beinhocker

His Hon Judge Michael & Ian Fleming Join our friends Artistic Director Harry Bicket Mrs Nicky Oppenheimer Michael Godbee

Principal Guest Director John & Sally Reeve Peter & Carol Honey As we begin the slow road to recovery from this Music-making is one of the most powerful means of Kristian Bezuidenhout Joe & Lucy Smouha Anita de Lotbiniere debilitating pandemic, we hope you may consider bringing people together and when the dust fully settles, Founder CBE Christopher Stewart Brian Mace supporting our work. The English Concert will be with you, celebrating together Chief Executive Alfonso Leal del Ojo Hugh & Helene Tilney Audrey de Nazelle the music we believe in. For now, please do consider Orchestra Manager Sarah Fenn Alan Sainer The situation as it stands is still very challenging for the giving us your support – we need it now more than ever. Financial Controller Gill Rees Platinum arts community; our players are freelance artists and Friends Sir Nigel & Lady when performances are cancelled, we cannot pay them. You will find further information at Board of trustees Di Allison Elizabeth Carrington The English Concert is wholly reliant on income from www.englishconcert.co.uk/support Mr George Burnett (Chair) Sir Alan & Lady Bowness Dr Vivienne Monk & ticket sales, fees from venues, donations from trusts and Ms Alison Balsom Cynthia Butterworth Prof. Ross Anderson foundations and private individuals. With very best wishes from everyone at Mr Robin Binks Anthony Collett The English Concert. Mr Alan Gemes Diana Darlington

Whilst, it is clear the full repercussions of the Coronavirus Dr Richard Golding Anthony Diamond Gold Patrons for our community are yet to be fully known, I am Mr Alan Harley Martin Eaton Richard Baker certain that the human spirit will prevail. I take heart Mr Simon Jennings Mark & Lucy le Fanu Robin Binks in the demonstrations of humanity during the worst of Dr Vivienne Monk Felicity Good Catherine Gibaud lockdown, with people singing, making music from their Alfonso Leal del Ojo Mrs Nicky Oppenheimer Brian & Sue Hargreaves Graeme & Letitia Lythe balconies and celebrating those things that make us Chief Executive and Principal Viola Mr John Reeve Peter Hildebrand

human. Ms Kimiko Shimoda Richard & Jay Hitchman

Mr Joe Smouha QC Eleanor & Ian Jack

Mr Hugh Tilney Peter Kerber

Mr Simon Weil Exceptional music-making.

WALL STREET JOURNAL

THE ENGLISH CONCERT BRITAIN’S ORPHEUS SERIES CONTINUES

1 OCTOBER 9 OCTOBER Handel, The Philanthropist Handel, The Italian from the at Bart’s Hospital from Somerset House with Dame Sarah Connolly, Sophie with Lucy Crowe Bevan, Soraya Mafi & James Way Harry Bicket, Director Harry Bicket, Director

13 OCTOBER 4 OCTOBER Purcell, Music, Home & Heritage Purcell, O Solitude From Boughton House from Palace with Trevor Pinnock with Iestyn Davies

Harry Bicket, Director 15 OCTOBER The English Concert Somerset House (West Wing) Handel & Milton Strand, London, WC2R 1LA 6 OCTOBER from St Gile’s Cripplegate TELEPHONE: 020 3962 2322 Purcell, Odes for a Queen with Mark Padmore & Carolyn Sampson EMAIL: [email protected] from St John’s Smith Square Harry Bicket, Director WEB: englishconcert.co.uk with Rowan Pierce, James Laing, Hugh Cutting, Anthony Gregory, Hugo Hymas TheEnglishConcert & Ashley Riches EnglishConcert Kristian Bezuidenhout, Director englishconcert

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