Giulio Cesare
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Raffaele Pe, Countertenor La Lira Di Orfeo
p h o t o © N i c o l a D a l M Raffaele Pe, countertenor a s o ( R Raffaella Lupinacci, mezzo-soprano [track 6] i b a l t a L u c e La Lira di Orfeo S t u d i o Luca Giardini, concertmaster ) ba Recorded in Lodi (Teatro alle Vigne), Italy, in November 2017 Engineered by Paolo Guerini Produced by Diego Cantalupi Music editor: Valentina Anzani Executive producer & editorial director: Carlos Céster Editorial assistance: Mark Wiggins, María Díaz Cover photos of Raffaele Pe: © Nicola Dal Maso (RibaltaLuce Studio) Design: Rosa Tendero © 2018 note 1 music gmbh Warm thanks to Paolo Monacchi (Allegorica) for his invaluable contribution to this project. giulio cesare, a baroque hero giulio cesare, a baroque hero giulio cesare, a baroque hero 5 Carlo Francesco Pollarolo (c165 3- 1723) Sdegnoso turbine 3:02 Opera arias (from Giulio Cesare in Egitto , Rome, 1713, I.2; libretto by Antonio Ottoboni) role: Giulio Cesare ba 6 George Frideric Handel Son nata a lagrimar 7:59 (from Giulio Cesare in Egitto , London, 1724, I.12; libretto by Nicola Francesco Haym) roles: Sesto and Cornelia 1 George Frideric Handel (168 5- 1759) Va tacito e nascosto 6:34 7 Niccolò Piccinni (from Giulio Cesare in Egitto , London, 1724, I.9; libretto by Nicola Francesco Haym) Tergi le belle lagrime 6:36 role: Giulio Cesare (sung in London by Francesco Bernardi, also known as Senesino ) (from Cesare in Egitto , Milan, 1770, I.1; libretto after Giacomo Francesco Bussani) role: Giulio Cesare (sung in Milan by Giuseppe Aprile, also known as Sciroletto ) 2 Francesco Bianchi (175 2- -
Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry. -
Giulio Cesare Music by George Frideric Handel
Six Hundred Forty-Third Program of the 2008-09 Season ____________________ Indiana University Opera Theater presents as its 404th production Giulio Cesare Music by George Frideric Handel Libretto by Nicola Francesco Haym (adapted from G. F. Bussani) Gary Thor Wedow,Conductor Tom Diamond, Stage Director Robert O’Hearn,Costumes and Set Designer Michael Schwandt, Lighting Designer Eiddwen Harrhy, Guest Coach Wendy Gillespie, Elisabeth Wright, Master Classes Paul Elliott, Additional Coachings Michael McGraw, Director, Early Music Institute Chris Faesi, Choreographer Adam Noble, Fight Choreographer Marcello Cormio, Italian Diction Coach Giulio Cesare was first performed in the King’s Theatre of London on Feb. 20, 1724. ____________________ Musical Arts Center Friday Evening, February Twenty-Seventh Saturday Evening, February Twenty-Eighth Friday Evening, March Sixth Saturday Evening, March Seventh Eight O’Clock music.indiana.edu Cast (in order of appearance) Giulio Cesare (Julius Caesar) . Daniel Bubeck, Andrew Rader Curio, a Roman tribune . Daniel Lentz, Antonio Santos Cornelia, widow of Pompeo . Lindsay Ammann, Julia Pefanis Sesto, son to Cornelia and Pompeo . Ann Sauder Archilla, general and counselor to Tolomeo . Adonis Abuyen, Cody Medina Cleopatra, Queen of Egypt . Jacqueline Brecheen, Meghan Dewald Nireno, Cleopatra’s confidant . Lydia Dahling, Clara Nieman Tolomeo, King of Egypt . Dominic Lim, Peter Thoresen Onstage Violinist . Romuald Grimbert-Barre Continuo Group: Harpsichord . Yonit Kosovske Theorbeo, Archlute, and Baroque Guitar . Adam Wead Cello . Alan Ohkubo Supernumeraries . Suna Avci, Joseph Beutel, Curtis Crafton, Serena Eduljee, Jason Jacobs, Christopher Johnson, Kenneth Marks, Alyssa Martin, Meg Musick, Kimberly Redick, Christiaan Smith-Kotlarek, Beverly Thompson 2008-2009 IU OPERA theater SEASON Dedicates this evening’s performance of by George Frideric Handel Giulioto Georgina Joshi andCesare Louise Addicott Synopsis Place: Egypt Time: 48 B.C. -
The Solo Violin in London 1650-1705
‘Florish in the Key’ – the solo violin in London 1650-1705 Played on: Anon – ‘Charles II’ Violin 1664 (tracks 1-34); Girolamo Amati – Violin 1629 (tracks 35-44) (A=416Hz) by Peter Sheppard Skærved Works from ‘Preludes or Voluntarys’ (1705) 1 Arcangelo Corelli D major Prelude 1:10 26 Marc ’Antonio Ziani F minor Prelude 2:21 2 Giuseppe Torelli E minor Prelude 2:53 27 Gottfried Finger E major Prelude 1:25 3 Nicola Cosimi A major Prelude 1:37 28 ‘Mr Hills’ A major Prelude 1:40 4 Heinrich Ignaz Franz von Biber D major Prelude 0:48 29 Johann Christoph Pepusch B flat major Prelude 1:16 5 Giovanni Bononcini D minor Prelude 1:08 30 Giuseppe Torelli C minor Prelude 1:01 6 Nicola Matteis A major Prelude 1:16 31 Nicola Francesco Haym D minor Prelude 1:14 7 Francesco Gasparini D major Prelude 1:31 32 Tomaso Giovanni Albinoni C major Prelude 1:19 8 Nicola Francesco Haym F major Prelude 0:50 33 Francesco Gasparini C major Prelude 1:33 9 Johann Gottfried Keller D major Prelude 1:44 34 Nicola Matteis C minor Prelude 2:09 10 ‘Mr Dean’ A major Prelude 2:10 11 Tomaso Giovanni Albinoni D major Prelude 1:34 Works from ‘A Set of Tunings by Mr Baltzar’) 12 William Corbett A major Prelude 1:42 35 Thomas Baltzar A major Allemande 1 1:48 13 Henry Eccles A minor Prelude 1:57 36 Thomas Baltzar A major Allemande 2 2:06 14 Arcangelo Corelli A major Prelude 1:23 37 Thomas Baltzar A major ‘Corant.’ 1:21 15 Nicola Cosimi A major Prelude 1:26 38 Thomas Baltzar A major ‘Sarabrand.’ 1:30 16 Tomaso Vitali D minor Prelude 1:31 17 John Banister B flat major Prelude 1:12 Other -
Christophe Rousset and Les Talens Lyriques Unearth the Impropriety of the Gods in a Staging of Legrenzi’S La Divisione Del Mondo
Christophe Rousset and Les Talens Lyriques unearth the impropriety of the Gods in a staging of Legrenzi’s La Divisione del Mondo 8-16 February 1, 3 March 9 March Strasbourg Mulhouse Colmar 20-27 March Legrenzi La 13, 14 April Nancy Divisione del Mondo Versailles “La Divisione del Mondo shows us a most complicated and modern dysfunctional family - the Roman Gods seem to offer a hilarious mirror of our human misconduct and failures.” - Jetske Mijnssen Christophe Rousset and Les Talens Lyriques tour Giovanni Legrenzi’s rarely-performed La Divisione del Mondo in France from 8 February to 14 April. Directed by Jetske Mijnssen, fifteen performances will be given from Strasbourg to Versailles, via Mulhouse, Colmar, and Nancy, in a co-production with the Opéra national du Rhin and the Opéra national de Lorraine. Seen in its first modern staging in France, the revival of La Divisione del Mondo forms part of Les Talens Lyriques’ season theme, The Temptation of Italy, tracking Italian influences on French writing. Venetian opera had influenced French operatic tradition since its inception, and the only surviving score for La Divisione del Mondo is found in the Bibliothèque nationale de Paris. First performed in a lavish staging with great success at the Venetian Teatro San Salvador in 1675, La Divisione del Mondo depicts the division of the world following the victory of the Olympian gods over the Titan deities: the world inhabited by Madeline Miller’s novel Circe, recently a runaway best-seller in both the New York Times and The Sunday Times. Far from being a banal tale of morals and virtues, instead it unearths dreadful impropriety, with the goddess Venus leading all the other gods (with the exception of Saturn) through a series of moral temptations into debauchery. -
Symphony Orchestra University of Connecticut
University of Connecticut OpenCommons@UConn Concert Programs Department of Music Spring 3-14-2013 Symphony Orchestra University of Connecticut. Department of Music. Recitals and Concerts [email protected] Follow this and additional works at: https://opencommons.uconn.edu/concrt_prgms Part of the Music Practice Commons Recommended Citation University of Connecticut. Department of Music. Recitals and Concerts, "Symphony Orchestra" (2013). Concert Programs. 19. https://opencommons.uconn.edu/concrt_prgms/19 FIRST VIOLINS CELLOS BASSOONS Matthew Beland Allan Ballinger Justin McManus Hyun Ju Noh Matthew Rescsanski Andrew Pizzuto Peter Nowak Matthew Nichols Myles Mocarski Michelle Yeagley HORNS Anastasia Pilato Michael Albaine Elaine Steele Daniela Jofré Patricio Gutierrez Emma Reber Leo Kasle Kathleen McWilliams Adam Lattimore Samantha Goodale Julia McDonald Paul Ericson Lu Li Hannah Traver BASSES TRUMPETS Thursday, March 14th, 2013 at 7:30 p.m. Alex Millan Patrick Leclair von der Mehden Recital Hall SECOND VIOLINS Nicholas Trautmann Kevin Kelleher Dana Lyons Lexi Bodick David Silverstein Alexis Jensen Seth Lisle Rachel Puelle TROMBONES Karen Ren FLUTES Samuel Hausman The University of Connecticut Katherine Domrese Emily Palumbo Christopher Spinosa Andrew Wynsen Jillian Senczikowska Robert Barney Symphony Orchestra Kera Howard Deanna Fried Molly Blessing TUBA Jessica Stargardter OBOES Mitchell Bernier Harvey Felder, conductor Fariha Rashid Ling-Fei Kang Nareh Mkrtschjan Ling-Chun Yeh PERCUSSION Paul McShee, graduate assistant conductor Robert -
Rodelinda Regina De’Longobardi
George Frideric Handel Rodelinda Regina de’Longobardi CONDUCTOR Opera in three acts Harry Bicket Libretto by Nicola Francesco Haym, adapted from PRODUCTION Antonio Salvi’s work of the same name Stephen Wadsworth Saturday, December 3, 2011, 12:30–4:35 pm SET DESIGNER Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER The production of Rodelinda was made possible Peter Kaczorowski by a generous gift of John Van Meter. Additional funding was received from Mercedes and Sid Bass, and the Hermione Foundation. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2011–12 Season The 20th Metropolitan Opera performance of George Frideric Handel’s Rodelinda Regina de’Longobardi This performance conductor is being Harry Bicket broadcast live over The cast in order of appearance Toll Brothers– Metropolitan Rodelinda, Queen of Milan, wife of Bertarido Opera Renée Fleming International Radio Network, Grimoaldo, usurper of Milan, betrothed to Eduige sponsored by Joseph Kaiser Toll Brothers, America’s luxury Garibaldo, counselor to Grimoaldo homebuilder®, Shenyang * with generous long-term Eduige, Bertarido’s sister, bethrothed to Grimoaldo support from Stephanie Blythe * The Annenberg Bertarido, King of Milan, believed to be dead Foundation, the Andreas Scholl Vincent A. Stabile Endowment for Unulfo, counselor to Grimoaldo, secretly loyal Broadcast Media, to Bertarido and contributions Iestyn Davies from listeners worldwide. Flavio, son of Rodelinda and Bertarido Moritz Linn This performance is also being continuo: broadcast live on Harry Bicket, harpsichord recitative Metropolitan Opera Bradley Brookshire, harpsichord ripieno Radio on SiriusXM David Heiss, cello , theorbo and baroque guitar channel 74. Daniel Swenberg Saturday, December 3, 2011, 12:30–4:35 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXXII, Number 1 Spring 2017 AMERICAN HANDEL FESTIVAL 2017: CONFERENCE REPORT Carlo Lanfossi This year, Princeton University (Princeton, NJ) hosted the biennial American Handel Festival on April 6-9, 2017. From a rainstorm on Thursday to a shiny Sunday, the conference unfolded with the usual series of paper sessions, two concerts, and a keynote address. The assortment of events reflected the kaleidoscopic variety of Handel’s scholarship, embodied by a group of academics and performers that spans several generations and that looks promising for the future of Handel with the exploration by Fredric Fehleisen (The Juilliard School) studies. of the network of musical associations in Messiah, highlighting After the opening reception at the Woolworth Music musical-rhetorical patterns through Schenkerian reductions Center, the first day of the conference was marked by the Howard and a request for the audience to hum the accompanying Serwer Memorial Lecture given by John Butt (University of harmony of “I know that my Redeemer liveth.” Finally, Minji Glasgow) on the title “Handel and Messiah: Harmonizing the Kim (Andover, MA) reconstructed an instance of self-borrowing Bible for a Modern World?” Reminding the audience of the in the chorus “I will sing unto the Lord” from Israel in Egypt, need to interrogate the cultural values inherent to the creation tracing the musical lineage to the incipit of the English canon of Messiah, Butt structured his keynote address around various “Non nobis, Domine” through its use in the Cannons anthem topics and methodologies, including an analysis of Handel’s Let God Arise and the Utrecht Te Deum. -
Tamerlano: Comptes-Rendus / Reviews / Kritiken Pt1 FNAC, 02 04 2016
Tamerlano: comptes-rendus / reviews / Kritiken pt1 FNAC, 02_04_2016 Les perles Le Tamerlano qu'il vous faut 118 vues Une nouvelle version du Tamerlano de Georg Friedrich Haendel vient de sortir chez Naïve. C'est une fois de plus une initiative du contre-ténor Max-Emanuel Cencic et de Parnassus Arts Productions à qui nous devons notamment la re-création du magnifique Artaserse de Leonardo Vinci (maintenant disponible aussi en DVD) et d'un Alessandro de Haendel multi récompensé. Pourquoi une nouvelle version de Tamerlano dont il existe déjà plusieurs enregistrements, alors que d'autres opéras baroques sont encore inédits ? Quand on y regarde bien, peu de versions se rapprochent de la distribution vocale choisie par Haendel. Les versions de Malgoire en 1984 et de Gardiner en 1991 sont les seules dans lesquelles les deux rôles de Bajazet et d'Andronico soient tenus par des contre-ténors (des castrats à l'origine). Par ailleurs, Max-Emanuel Cencic, qui a chanté sur scène Tamerlano et Andronico en compagnie de certains des chanteurs choisis ici, souhaitait concrétiser ce travail scénique par un enregistrement. Les chanteurs sont accompagnés par l'ensemble Il Pomo d'Oro dirigé par Riccardo Minasi, partenaires de Cencic dans le récital Venezia. Tamerlano est un drame lyrique créé en le 31 octobre 1724 au King's Theater de Londres, la même année que le célèbre Giulio Cesare in Egitto, donné quelques mois plus tôt dans le même lieu. L'opéra reprend un thème assez utilisé à une époque où les turqueries étaient en vogue, la mort tragique du sultan turc Bajazet, vaincu par le souverain mongol Tamerlano. -
Va Tacito E Nascosto Georg Friederich Händel, the Composer of This Aria, Was Born in Prussia in 1685 and Died in England in 1759
Va tacito e nascosto Georg Friederich Händel, the composer of this aria, was born in Prussia in 1685 and died in England in 1759. He spent most of his career in London after studying in Hamburg and Italy. Händel is known for his strong baroque influences, which shines through this aria from his opera, Giulio Cesare (1724). Other artists who contributed to the making of this opera are Giacomo Francesco Bussani, who wrote the original libretto, Nicola Francesco Haym, who revised the libretto. During this piece, Cesare is residing at Tolomeo’s home, where he confesses to Curio (his guard) that he believes Tolomeo will betray him. The theme of the song is the relationship between hunter and prey, and a calculating Cesare does his best to reverse the roles. Listen for the chase of the piano creeping up on its prey, which was originally intended for solo horn. Thy rebuke hath broken his heart/Behold and see Another great Händel work, from Messiah. It’s said that after the gigantic success of Messiah, Händel never wrote another Italian opera again. Even though this work was composed in 1741 (with the help of Charles Jennens, who compiled scriptural text form the King James Bible), Händel’s Messiah is still performed near Christmastime every year all around the world. Part I of Messiah is the telling of prophecies, including a visit from angels foretelling the birth of Christ. Part II retells the life and death of Jesus, and the sacrifices He made for us. Lastly, Part III of Messiah highlights the resurrection and the glory of Christ in heaven. -
FURORE JOYCE Didonato LES TALENS LYRIQUES CHRISTOPHE ROUSSET
HANDEL OPERA ARIAS FURORE JOYCE DiDONATO LES TALENS LYRIQUES CHRISTOPHE ROUSSET Handel: Furore Semele hwv 58 (1744) 8 Hence, Iris hence away 3:39 Serse hwv 40 (1738) 1 Crude furie degl’orridi abissi 3:43 Imeneo hwv 41 (1740) 9 Sorge nell’alma mia5:21 Teseo hwv 9 (1713) 2 Dolce riposo 3:14 Ariodante hwv 33 (1735) 3 Ira, sdegni, e furore... 10 E vivo ancora?... Scherza infida 10:54 O stringerò nel sen 4:46 4 Morirò, ma vendicata 4:46 Admeto 11 Gelosia, spietata Aletto 5:00 Giulio Cesare hwv 17 (1724) 5 Figlio non è, chi vendicar non cura... Amadigi hwv 11 (1715) L’angue offeso mai riposa 5:22 12 Desterò dall’empia Dite 5:23 Admeto hwv 22 (1727) Dave Hendry trumpet 6 Lentamento Josep Domenech oboe Orride larve... Chiudetevi miei lumi 7:33 Hercules 13 Dissembling, false, perfidious Hercules!... Hercules hwv 60 (1745) Cease, ruler of the day, to rise 4:44 7 Then I am lost... 14 Where shall I fly? 6:00 There in myrtle shades reclined 4:40 total 75:08 With all the possible themes available to a mezzo-soprano, why choose such a forceful one as fury for my first aria disc? It’s simple: Handel was a genius, and exploring the tapestries of such rich, complicated, often lost characters as Dejanira, Medea or Ariodante gives us the golden opportunity to take a profoundly emotional, vulnerable and ultimately human journey with these characters through the vivid pulse of his music. Why are these characters so mad? They have been scorned, betrayed, or abandoned and find themselves in the depths of despair; and through it all Handel evokes raw fire from their fury, and elicits haunted, tortured, beautiful pathos from their despair. -
Handel Serse
HANDEL SERSE Anna Stéphany . Rosemary Joshua . David Daniels Hilary Summers . Joélle Harvey . Brindley Sherratt . Andreas Wolf Early Opera Company CHANDOS early music CHRISTIAN CURNYN HANDEL SERSE G E O RGE F R ID ER IC HAND E L Marble sculpture, 1738, by Louis-François Roubiliac (c. 1702 – 1762), now at the Victoria & Albert Museum, London / AKG Images, London George Frideric HANdel (1685–1759) Serse, HWV 40 (1737 – 38) Opera in Three Acts On an anonymous revision of the libretto Il Xerse (Rome, 1694) by Silvio Stampiglia (1664 – 1725), in turn based on the libretto Il Xerse (Venice, 1655) by Count Nicolò Minato (c. 1630 – 1698) Performing edition prepared by Peter Jones Serse, King of Persia .................................................. Anna Stéphany mezzo-soprano Arsamene, his brother, in love with Romilda................David Daniels counter-tenor Amastre, heiress to the kingdom of Tagor, betrothed to Serse ........................................................................Hilary Summers contralto Ariodate, a prince, vassal to Serse ..................................................Brindley Sherratt bass Romilda, his daughter, in love with Arsamene ................Rosemary Joshua soprano Atalanta, her sister, secretly in love with Arsamene ...................Joélle Harvey soprano Elviro, servant of Arsamene ....................................................Andreas Wolf bass-baritone Setting: Abydos, Persia in ancient times Early Opera Company Christian Curnyn 5 COMPACT DISC ONE Time Page 1 1 Ouverture. [ ] – Allegro – Adagio – Gigue 5:33 p. 82 Act I 2 2 Accompagnato. Serse: ‘Frondi tenere, e belle’ 0:41 p. 82 3 3 Aria. Serse: ‘Ombra mai fu’. Larghetto 2:21 p. 82 4 4 Recitativo. Arsamene: ‘Siam giunti, Elviro...’ 0:22 p. 83 with Elviro 5 5 Sinfonia e Recitativo. Arsamene: ‘Sento un soave concento’. Larghetto 1:49 p.