Giulio Cesare

Total Page:16

File Type:pdf, Size:1020Kb

Giulio Cesare LEON WILSON CLARK OPERA SERIES SHEPHERD SCHOOL OPERA and the SHEPHERD SCHOOL CHAMBER ORCHESTRA present GIULIO CESARE An opera in three acts Music by George Frideric Handel Libretto by Nicola Francesco Naym Judith Soren Weinstein, guest director Kenneth Goldsmith, music director ' Thomas Jaber, music director Matt Coldwell, set and lighting designer Ruth Dentel, costume designer March 25, 27, 29 and 31, 1999 7:30 p.m. Wortham Opera Theatre RICE UNIVERSITY ~ ~ic CAST (in order of appearance) Giulio Cesare, Roman Emperor . AlokKumar Curio, Roman tribune and aide to Cesare . Adam Feriend Cornelia, wife of Pompey . Andrea Jaber Sesto, Son of Pompey and Cornelia . Kristina Driskill Achilla, counselor to Tolomeo . Brady Knapp Cleopatra, Queen of Egypt. Tracy Rhodus Nireno, confidant of Cleopatra and Tolomeo . Stephanie Bradow Tolomeo, King of Egypt. Joan Allouache SHEPHERD SCHOOL CHAMBER ORCHESTRA Larry Rachlejf, Music Director Violin I Cello Bassoon Jonathan Godfrey, Erin Breene, Shawn Jones concertmaster principal Amy Yang Nathaniel Farny Sandra Halleran Jocelyn Adelman Horn Jeffrey Garza Double Bass Shane Smith Violin II David Molina Fia Mancini, Eric Reed Kristina Crago principal Flute Stephan Ellner Martha Councell Harpsichord Alessandra Jennings Caroline Kung Jason Hardink Emma Philips Oboe . Orchestra Manager Viola Yu~-Pey Lin Martin Merritt Anna Bach-y-Rita, Omri Raveh principal Orchestra Librarian Daniel Sweaney Karen Slotter CHORUS Marla Buonodono, Amy Cowan, Shahrzad Mowlavi, Natalie Priest, Cara Spinks, Alyson Tom, Ryan Dohoney, Benjamin Eley, Austin Ku, Chien Yo Lee, Andrew Sudduth, Craig Verm UNDERSTUDIES Sesto . David Ray . A ch ilia Brandon Gibson Cleopatra Leslie Heal Tolomeo. Laural Klein Giulio Cesare Composed by George Frideric Handel (1685-1759) in 1723-24 with libretto by Nicola Francesco Haym. A. First performed at the King's Theatre, Haymarket, London, on February 20, 1724. The action takes place in Egypt, in and around Alexandria, 48-47 B.C. ACT! Scene 1 - The Roman camp Scene 2 - Tolomeo's throne room Scene 3 - The Roman camp - later that evening Scene 4 - Tolomeo's throne room INTERMISSION (15 minutes) ACT II Scene 1 - A garden in the Egyptian palace Scene 2 - The garden of the Seraglio Scene 3 - A garden in the Egyptian palace Scene 4 - The Seraglio INTERMISSION (15 minutes) ACT III Scene 1 - The banks of the Nile Scene 2 - A battlefield Scene 3 - Tolomeo's throne room Scene 4 - A prison Scene 5 - Cleopatra's coronation ARTISTIC AND PRODUCTION STAFF Director . Judith Soren Weinstein Music Director, Orchestral Preparation, Conductor . Kenneth Goldsmith Music Director, Vocal Preparation, Continua . Thomas Jaber Fight Director . Brian Byrne Associate Fight Director. Lera/do Anzaldua Set and Lighting Designer . Matt Coldwell Technical Director . Matt Coldwell Stage Carpenter and Electrician Matt Coldwell Costume Designer . Ruth Dentel Production Stage Manager. Alex Stutler Scenic Artist . Kathy Neumeyer Rehearsal Accompanist . Jason Hardink Scenic Technicians . Kristina Driskill, Joan Allouache Scenic Carpenters . Roger Evans, Anthony Contello Shop Assistants . Jeremy Moeller, Anne Huter, Jamie Kent, Omri Raveh Costume Assistant Suzanne Hatcher, Eva Sheie Milliner . Natalie Roberts Surtitle Projectionist . Erin Wall Running Crew . Brandon Gibson, Eric Esparza, Kristin Anderson This production is made possible by a generous endowment from the late Dr. Leon Wilson Clark. ACKNOWLEDGEMENTS Special thanks to Houston Grand Opera, the University ofHouston Theatre_Department, San Jacinto College Theatre Department, Pat Houk, Megan Freemantle, Nancy Kritikos, Stahlman Lumber, Ideas Etc., Matthew Bartkowiack, Diana and William P. Hobby, Alex Stutler, John Knudsen, George Myers Coldwell, and Lisa Chen. English translation for Surtitles provided by Houston Grand Opera. BIOGRAPHIES Director JUDITH SOREN WEINSTEIN has worked both throughout the United States and internationally on a variety of opera and music theater pieces. This production of Giulio Cesare marks her debut at The Shepherd School of Music. In the summer of 1998, Ms. Weinstein directed the world premiere of a new performing edition of Monteverdi's Orfeo for the Israeli Vocal Arts Institute in Tel Aviv. Recent productions include Cosi fan Tutte at the Utah Opera, a semi-staged version of Vivaldi's rarely produced opera Arsilda with the Little Orchestra Society starring Lynn Redgrave, as well as a double bill of Haydn's La Canterina and Malcolm Williamson's The Happy Prince for New York University. Previous productions have ranged from Handel's Semele to Verdi's La Traviata. KENNETH GOLDSMITH is violinist of the Mirecourt Trio, an ensemble that enjoys international acclaim through tours, prize-winning recordings, and television and radio broadcasts. He is currently Professor of Music at The Shepherd School of Music. As a recitalist and soloist with orchestra, Mr. Goldsmith has toured the United States, Canada, Mexico, Europe, Taiwan, and the People's Republic of China. His teachers include William Kroll, Mischa Mischakoff, and Nathan Milstein, and he holds degrees from George Peabody College and Stanford University. Mr. Goldsmith has given master classes throughout the United States, Eu­ rope, and the Orient, and appears frequently in recital with pianist Jo Anne Ritacca. His extensive recorded repertoire, both solo and with the Mirecourt Trio and Lyric Art String Quartet, appears on the following record labels: ABC, Genesis, CR!, Innova, Grand Prix, Audax, Gasparo, Bay Cities, and TR Records. With the Mirecourt Trio, he has embarked on a compact disc series for Music and Arts ofAmerica featuring new American music and the standard literature for piano trio. In 1962 Mr. Goldsmith won the Young Concert Artists Competition in New York City, and he received a special award at the Kennedy-Rookefeller Inter­ national Violin Competition in Washington, D. C., in 1980. With the Mirecourt Trio, he was a finalist at the 1976 Naumburg Chamber Music Competition in New York. Mr. Goldsmith has been Concertmaster of several American sym­ phony orchestras and has performed with virtually every major conductor and soloist. l{is academic career includes posts at Stanford University, California State University at Fullerton, Grinnell College, University ofIowa, Pomona College, University of California at Irvine, and the University of Houston. THOMAS JABER is Director of Choral Activities and Associate Professor of Vocal Coaching at The Shepherd School ofMusic. In addition to the respon­ sibilities ofcoaching graduate students and senior voice majors, Mr. Jaber teaches choral conducting and conducts three ensembles: Shepherd Singers, Rice Chorale, and Sallyport. These groups have been heard nationwide on both National Public Radio and the CBS Radio Network. Before moving to Houston in 1988, Mr. Jaber was Music Director of the Opera Theatre of Temple Univer­ sity in Philadelphia. A member of the faculty at the Curtis Institute of Music from 1976-1988, Mr. Jaber also worked as a vocal coach and conductor at Philadelphia's Academy of Vocal Arts from 1977-1986. He was also chosen as vocal coach for the Opera Company ofPhiladelphia/Luciano Pavarotti Inter­ national Competition. Before coming to Houston, Mr. Jaber was the Organist/Choirmaster of the First Presbyterian Church in Philadelphia, where he conducted a professional chorus of twenty singers. He is currently the Organist at Chapelwood United Methodist Church in Houston. SHEPHERD SCHOOL VOICE DEPARTMENT AND OPERA STUDIES FACULTY Joyce Farwell, Professor of Voice and Chair of the Voice Department Janet de Chambrier, Vocal Coach Debra Dickinson, Artist Teacher of Opera Studies for Acting and Movement Michael Franciosi, Vocal Coach Thomas Jaber, Associate Professor of Music, Director of Choral Activities, and Vocal Coach Kathleen Kaun, Professor of Voice William Murray, Associate Professor of Voice Jo Anne Ritacca, Vocal Coach UPCOMING EVENT OF SHEPHERD SCHOOL OPERA Sunday, April 18, and Monday, April 19 Student-directed recital ofscenes from opera and musical theater featuring excerpts from works including Mozart's Cosi fan Tutte, Britten's A Midsummer Night's Dream, Puccini's Madame Butterfly, and Barber's A Hand ofBridge. 7:30 p.m., Wortham Opera Theatre at Alice Pratt Brown Hall Free admission, no tickets required. RICE .
Recommended publications
  • 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-
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]