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Embodiment of Love in Handel´S Opera Giulio Cesare
Proceedings of the 3rd International Conference on Music & Emotion (ICME3), Jyväskylä, Finland, 11th - 15th June 2013. Geoff Luck & Olivier Brabant (Eds.) EMBODIMENT OF LOVE IN HANDEL´S OPERA GIULIO CESARE Marjo Suominen Department of Philosophy, History, Culture and Art Studies, Institute of Musicology, University of Helsinki, Finland [email protected] Abstract By studying metaphors of love in Handel´s opera Giulio Cesare in Egitto, I will introduce how it is depicted by the protagonists´ arias; via Cleopatra´s and Caesar´s musical relations, as a prevailing message. The atmos- pheric tone paintings set to the musical highlights of the protagonist arias answer the questions: how is love defined in Giulio Cesare? What kind of musical signs of love are there to be found and what will they tell us? Love is an essential theme in the work because the arias` foci are interlocked by the affectual tensions. These have encouraged various performance views of the work, for instance: ENO´s “epoch” depiction in 1984; Sel- lar´s “satirical” version in 1990; and Glyndebourne`s “colonialist” perspective in 2005. I apply the theory of af- fects in music appearing in the writings by Handel´s colleague Johann Mattheson (Das Neu=Eröffnete Orches- tre, 1713) grounded on Classic Aristotelian and Cartesian ideals (Aristotle´s Rhetoric, Descartes´ es passions de l e) (Suominen, July & September 2010). It also relates to so called Hippocratic-Galenic four elements, temperaments or humours theory by which I will show the different representations of the opera´s characters as a cathartic (ethic, Lutheran based) implication by Handel. -
Year of Le Nôtre
ch VER ât Sail ecouverture conférence de presse version déf.indd 1 aules 18/01/2012 13:01:48 3 CONTENTS Press conference - 26 january 2012 Foreword 4 Versailles on the move 7 The exhibitions in versailles 8 Versailles to arras 12 Events 13 Shows 15 Versailles rediscovered 19 Refurnishing versailles 21 What the rooms were used for 26 Versailles and its research centre 28 Versailles for all 31 2011, Better knowledge of the visitors to versailles 32 A better welcome, more information 34 Winning the loyalty of visitors 40 Versailles under construction 42 The development plan 43 Safeguarding and developing our heritage 48 More on versailles 60 Budget 61 Developing and enhancing the brand 63 Sponsors of versailles 64 Versailles in figures 65 Appendices 67 Background of the palace of versailles 68 Versailles in brief 70 Sponsors of the palace of versailles 72 List of the acquisitions 74 Advice for visitors 78 Contacts 80 4 Foreword This is the first time since I was appointed the effects of the work programme of the first phase President of the Public Establishment of the Palace, of the “Grand Versailles” development plan will be Museum and National Estate of Versailles that I considerable. But the creation of this gallery which have had the pleasure of meeting the press. will present the transformations of the estate since Flanked by the team that marks the continuity Louis XIII built his hunting lodge here marks our and the solidity of this institution, I will review the determination to provide better reception facilities remarkable results of 2011 and, above all, the major for our constantly growing numbers of visitors by projects of the year ahead of us. -
Septem Verba a Christo
GIOVANNI BATTISTA PERGOLESI Septem verba a Christo SOPHIE KARTHÄUSER CHRISTOPHE DUMAUX JULIEN BEHR KONSTANTIN WOLFF RENÉ JACOBS FRANZ LISZT Verbum I: Pater, dimitte illis: non enim sciunt qui faciunt (Luke 23:34) 1 | Christus (bass) Recitativo Huc, o dilecti filii 1’57 2 | Aria En doceo diligere 4’38 3 | Anima (alto) Aria Quod iubes, magne Domine 4’02 Verbum II: Amen dico tibi: hodie mecum eris in Paradiso (Luke 25:43) 4 | Christus (tenor) Recitativo Venite, currite 0’55 5 | Aria Latronem hunc aspicite 4’23 6 | Anima (soprano) Aria Ah! peccatoris supplicis 5’04 Verbum III: Mulier ecce filius tuus (John 19:26) 7 | Christus (bass) Recitativo Quo me, amor? 2’01 8 | Aria Dilecta Genitrix 3’35 9 | Anima (soprano) Recitativo Servator optime 1’18 10 | Aria Quod iubes, magne Domine 5’59 Verbum IV: Deus meus, deus meus, ut quid dereliquisti me? (Mark 15:34) 11 | Christus (bass) Aria Huc oculos 5’57 12 | Anima (alto) Aria Afflicte, derelicte 5’40 Verbum V: Sitio (John 19:28) 13 | Christus (bass) Aria O vos omnes, qui transitis 5’19 14 | Anima (tenor) Aria Non nectar, non vinum, non undas 4’13 Verbum VI: Consummatum est (John 19:29) 15 | Christus (bass) Aria Huc advolate mortales 6’09 16 | Anima (soprano) Aria Sic consummasti omnia 5’35 Verbum VII: Pater, in manus tuas commendo spiritum meum (Luke 23:44-46) 17 | Christus (bass) Recitativo Quotquot coram cruce statis 1’36 18 | Aria In tuum, Pater, gremium 5’33 19 | Anima (tenor) Aria Quid ultra peto vivere 6’25 Soprano Sophie Karthäuser Countertenor Christophe Dumaux Tenor Julien Behr Bass Konstantin -
SALAMANCA BARROCA AUDITORIO Hospedería FONSECA | VIERNES 29/03/19 20:30H
Centro Nacional de Difusión Musical Universidad de Salamanca SALAMANCA BARROCA AUDITORIO hOSpeDeRíA FONSeCA | VIERNES 29/03/19 20:30h SANDRINe pIAU SOpRANO LeS Paladins JéRôMe CORReAS CLAve y DIReCCIóN HEROÍNAS AUDITORIO hOSpeDeRíA FONSeCA | VIERNES 29/03/19 20:30h pALeNCIA ANTIQvA Centro Nacional de Difusión Musical SALAMANCA BARROCA Diputación de palencia #DescubreHaendel I FeSTIvAL INTernacional De Música George Friedrich Haendel (1685-1759) MeDIevAL y Renacentista eSpAñOLA I Acceso libre hasta completar aforo Ariodante, HWV 33 (1735) Obertura Marcha: Largo – Allegro Partenope, HWV 27 (1730) 30/03/19 | SÁBADO Aria: Voglio amare infin ch’io moro 13:00h | IglesIa de san MIllán (Baltanás) Giulio Cesare in Egitto, HWV 17 (1724) Recitativo y aria: Piangerò la sorte mia óRgANO andRÉs Cea Concerto grosso en la menor, op. 6, nº 4, HWV 322 (1739) Larghetto afettuoso Allegro Largo e piano Allegro 18:00h | ColegIata de san MIguel (aMpudIa) Giulio Cesare in Egitto Juan de la RuBIa óRgANO Aria: Da tempeste il legno infranto II Alcina, HWV 34 (1735) 20:30h | IglesIa de san MIguel (PALENCIa) Aria: Ah! mio cor alIa MVsICa | VoX FeMInae Rodrigo, HWV 5 (1707) Suite Miguel Sánchez DIRector Overture Gigue Unica Hispaniae. El canto litúrgico y polifónico Sarabande de la España medieval de los siglos XIII y XIV Matelot Menuet Bourrée Menuet Alcina síguenos en Aria: Tornami a vagheggiar cndm.mcu.es diputaciondepalencia.es Duración aproximada: I: 45 minutos Pausa II: 45 minutos coproducen: colabora: Pantone 186c cmyk 100/81/0/4 pantone: 258C | cmyk 42/84/5/1 pantone: 144C | cmyk 0/50/100/0 pantone: 144C | cmyk 0/50/100/0 pantone: 2995C | cmyk 100/0/0/0 pantone: 370C | cmyk 50/0/100/25 pantone: 2935C | cmyk 100/46/0/0 pantone: 131C | cmyk 0/32/100/9 pantone:104C | cmyk 0/3/100/30 Pantone 186c | cmyk 100/81/0/4 pantone: 328C | cmyk 100/0/45/32 pantone: 370C | cmyk 65/0/100/42 pantone: 208C | cmyk 0/100/36/37 Heroínas barrocas LeS Paladins «El Barroco es el arte de la representación. -
56 0809Englisch.Pdf
A Wien Holding Company Intendant Roland Geyer General sponsors of the Theater an der Wien The Theater an der Wien recieves subsidies from the Cultural Department of the City of Vienna insNoten130x205_4c_E_TheaterRZ 04.06.2008 13:53 Uhr Seite 1 „WHOEVER HEARS BUTTERFLIES LAUGHING, KNOWS THE SCENT OF CLOUDS“ (Novalis) he butterfly is a wonderful symbol of transformation and freedom. And this is a requirement that art repeatedly demands, too. The mysterious Tmetamorphosis of the ugly caterpillar into the magnificent butterfly has sti- mulated man’s imagination from time immemorial. Everyone who watches Where does a butterfly is struck by its beauty, elegance and lightness. The ancient ability to think in images and symbols is inside each one of us – and in the world of opera, too. The opera is a treasure-house of the music call the tune? irrational. It unfolds “our imagination’s most beautiful alternative world.” Mozart himself confessed, “I need only to hear talk about opera, I need only to be in the theatre and hear voices – it suffices to transport me utterly.” The Theater an der Wien, the new opera house, is aiding a development in our city that no one can now fail to notice: more and more people with an interest in culture, and younger people too, are going to the opera! They are looking for a space where dreams and longings can unfold freely with great emotion and even pathos – and the opera provides a meeting place for them: everything appears bathed in “bright” light, and in this light one is drawn in by enchanting sounds. -
Brochure De La Saison 2021-2022
Les Talens Lyriques Les Talens Lyriques ont 30 ans ! ui, nous célébrerons cet anniversaire coûte que coûte. O Quelle longévité ! Je ne l’aurais moi-même jamais espé- rée. Comment m’imaginer diriger tant d’opéras, italiens et français, comment imaginer Les Talens à l’opéra de Sydney, de Versailles ou de Drottningholm, comment aurais-je pu me voir diriger du Berlioz, du Verdi, du Gounod ? Ma grande satisfaction est d’avoir tenu ma ligne entre la France et l’Italie, d’avoir pu éviter l’effet pour l’effet, d’avoir pris des risques avec les trompettistes mais aussi les cornistes et autres aventuriers du baroque pour retrouver les techniques et les sonorités « justes ». Je ne rougis d’aucune eau dans le vin que je respecte trop pour l’édulcorer. Cette saison marquera aussi nos 15 ans d’actions pédagogiques dans les écoles et les collèges. Aujourd’hui, les partenariats se transforment et se multiplient, de nou- veaux projets se développent dans ce souci de transmis- sion qui m’est si cher. Bien sûr, tous ces accomplissements ne seraient pos- sibles sans l’aide de nos partenaires qui nous soutiennent fidèlement depuis de nombreuses années. Sans eux, Les Talens Lyriques n’auraient pu mener à bien tous ces beaux projets. Qu’ils en soient ici très chaleureusement remerciés. Et merci à vous cher public pour votre présence pas- sionnée à nos côtés depuis toutes ces années. Vous me manquez, et j’ai hâte de vous retrouver ! Et maintenant : que la fête commence ! Cette saison justement rassemble ce qui est le cœur de notre vocation : 3 beaucoup d’opéras, surtout méconnus ; de la musique de chambre (car le claveciniste que je suis tient à rester aussi chambriste) ; des récitals de jeunes chanteurs (car découvrir de nouveaux talents est aussi notre marque de fabrique) ; et des incursions dans le romantisme. -
Private Musiksammlung Archiv CD/DVD
Private Musiksammlung Aktualisierung am: 04.09.15 Archiv CD/DVD - Oper Sortierung nach: in CD - mp3 / DVD - MEGP- Formaten 1. Komponisten 2. Werk-Nummer (op.Zahl etc) TA und TR: Daten sind bei „alne“ vorhanden 3. Aufnahmejahr Auskünfte über Mail [email protected] Diese Datei erreichen Sie unter: T und TR: Daten sind bei „EO“ vorhanden http://www.euro-opera.de/T-TA-TR.pdf Auskünfte über Mail in Kürze auch unter: [email protected] http://www.cloud-de.de/~Alne_Musik/ Haas Haas Die heilige Elisabeth - 1 München Maria Venuti - Wolf Bruno Weil Ch-O - BR 4 Euba - - - - - - - Elmar Schloter, Joseph Haas (1879 - - Orgel - 1960) - Münchener 21.03.2004 - Rundfunkorchester op. 84 - cda403 T- VHS-Audi CD o Haas Die heilige Elisabeth - 1990 München Maria Venuti - Wolf Bruno Weil Ch - 26.11.1990 BR 4 Euba - - - - - - - - 1659,01 Joseph Haas (1879 - - 1960) - Münchner 31.03.2010 - Rundfunkorchester op. 84 - cda1003 T- Dok 409 2 CD 2 Haas Scharlatan - 1997 Prag Vladimir Chmelo - Anda-Louise Israel Yinon O - BR 4 Bogza - Miroslav Svejda - Leo 529,01 Pavel Haas (1899 - - MarianVodicka - Ladislav Mlejnek - 1944) - Orchester der Prager 22.06.1999 - Jan Jezek - - - - Staatsoper Oper 1 - T- VHS-Audio Haas Scharlatan - 2009 Gera Andreas Scheibner - Franziska Rauch - Jens Troester O - 06.03.2009 MDR Figaro Peter-Paul Haller - Konrad 1355,01 Pavel Haas (1899 - - Zorn - - - - - Kay Kuntze - Duncan 1944) - Sarlatán Opernchor und 07.03.2009 - Hayler Philharmonisches Oper 1 - cda1601 T- Dok 124 CD 6 Haas Bluthaus - 2011 Schwetzingen Sarah Wegener - Ruth Hartmann -
Boston Symphony Orchestra Concert Programs, Season 130, 2010-2011
Hi 1 , 'I 2010-2011 SEASON WEEK 25 s James Levine Music Director Bernard Haitink Conductor Emeritus Seiji Ozawa Music Director Laureate Boston 320 Boylston Street (617) 482-8707 Hermes.com Summer twill giant scarf When colors meet inspiration HERMES PARIS Hermes, contemporary artisan since 1837. Table of Contents | Week 25 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 24 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 TRANSLATING SHAKESPEARE: COMING TO MUSICAL TERMS WITH THE BARD BY THOMAS MAY 38 FAREWELL, THANKS, AND ALL BEST: THIS YEAR'S BSO RETIREE 40 THIS WEEK'S PROGRAM Notes on the Program 44 Berlioz's "Romeo et Juliette" 56 To Read and Hear More... 58 Text and Translation Guest Artists 68 Charles Dutoit 69 Bernarda Fink 71 Jean-Paul Fouchecourt 72 Laurent Naouri 73 Tanglewood Festival Chorus 75 John Oliver 78 2010-2011 SEASON SUMMARY 92 SPONSORS AND DONORS 106 SYMPHONY HALL EXIT PLAN 107 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL. program copyright ©2011 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Michael J. Lutch BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org It takes a dedicated craftsman to create a flawless instrument. Shouldn't your investments be handled with the same expertise? FIDUCIARYTRUST REAP THE DIVIDENDS FIDUCIARY-TRUST.COM 175 FEDERAL STREET B0ST0.N. MA - INVESTMENT | SETTLEMEN MANAGEMENT I I TRUST SERVICES ESTATE AND FINANCIAL PLANNING I FAMILY OFFICE SERVICES ESTATE \ EVERY CLOUD HAS A SILVER LINING At EMC, success comes from creating technology which will transform the world's largest IT departments into private clouds—and from sharing that success by supporting a range of educational, cultural, and social programs in our community. -
French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs. -
Dazzling French Soprano SANDRINE PIAU Makes Toronto Debut Jan 31 – Feb 3 Tafelmusik Baroque Orchestra Directed by Jeanne Lamon Sandrine Piau, Soprano
Dazzling French Soprano SANDRINE PIAU makes Toronto Debut Jan 31 – Feb 3 Tafelmusik Baroque Orchestra Directed by Jeanne Lamon Sandrine Piau, soprano “Only a voice this pure, with intonation so flawless, could seem to linger long after it had sounded.” —San Francisco Classical Voice "Sandrine Piau is one of today’s most celebrated singers in the world of early music." —Music Web International “A magnificent singer with … pure timbre, even line, flawless musicality, and touching fragility.” —Classiqueinfo Toronto, Canada, January 11, 2013 … One of the most remarkable stars of the French opera scene, soprano Sandrine Piau joins Tafelmusik Baroque Orchestra for her highly anticipated Toronto debut from January 31 to February 3, 2013. Piau is also renowned worldwide for her performances and recordings of baroque music, by Handel and Vivaldi in particular. She makes her Tafelmusik debut in a programme of virtuoso operatic arias and motets by these two composers, singing excerpts from Handel’s Giulio Cesare and Il trionfo del tempo, and Vivaldi’s thrilling and technically demanding In furore iustissimae irae. Known for her “clear and deeply expressive voice, nuanced phrasing and immaculate control,” (The New York Times) Piau regularly performs with celebrated conductors such as William Christie, Philippe Herreweghe, Christophe Rousset, Gustav Leonhardt, Ivor Bolton, Ton Koopman, René Jacobs, Marc Minkowski and Nikolaus Harnoncourt. Highlights of Piau’s current season include a debut recital tour to Japan, her Boston Symphony Orchestra debut, performances with RAI Orchestra in Turin, Debussy’s Pelléas et Mélisande at La Monnaie, Brussels, and a Mozart recital and performance of Britten’s Les Illuminations at Wigmore Hall in London. -
Handel MUSIC for QUEEN CAROLINE George Frideric Handel (1685 - 1759)
Les Arts Florissants William Christie Handel MUSIC FOR QUEEN CAROLINE George Frideric Handel (1685 - 1759) MUSIC FOR QUEEN CAROLINE !e King shall rejoice - Coronation Anthem, HWV 260 (1727) Te Deum in D major,“Queen Caroline”, HWV 280 (1714) !e ways of Zion do mourn - Funeral Anthem for Queen Caroline, HWV 264 (1737) LES ARTS FLORISSANTS William Christie,direction Caroline of Ansbach !by Enoch Seeman, c. 1720" Soloists for the Te Deum | solistes du Te Deum: Tim Mead,countertenor | contre-ténor Sean Clayton,tenor | ténor Lisandro Abadie,bass-baritone | baryton-basse !e wife of George II of England, a woman of great beauty and a defender of both science and the arts, Caroline of Ansbach was also a patron and close friend of Handel. !is recording brings together three of the composer’s works written for the major royal ceremonies which marked the life of Caroline from her arrival in England to her funeral. Épouse du roi George II d’Angleterre,femme d’une grande beauté,défenseur des arts et des sciences, Caroline d’Ansbach fut aussi la protectrice et l’amie intime de Handel. Cet enregistrement réunit trois œuvres du compositeur destinées aux grandes cérémonies royales qui, de l’arrivée de Caroline en Angleterre jusqu’à ses funérailles,ponctuèrent son règne. 1 7 | Tracklist | Liste des plages 10 | #e performers | Les interprètes 12 | Fit for a Queen | Des joyaux dignes d’une reine JOHN H. ROBERTS 21 | Sung texts | Textes chantés 26 | Portfolio 32 | Biographies 46 | Discography, DVDs and scores | Discographie, DVD et partitions 3 GEORGE FRIDERIC -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland.