allegorica special projects · primo uomo of an operatic production involved many issues : the...

ALLEGORICA SPECIAL PROJECTS

• “HEROES IN LOVE”

Sonia Prina World première recordings, arias by C.W.Gluck La Barocca / Ruben Jais, conductor

• “TITANS” – Senesino and Farinelli Sonia Prina/Vivica Genaux With Ladies it will be more fun…☺

Händel, Ariosti, Porpora, Vinci, Hasse, Lotti.. Concerto Copenhagen / Lars Ulrik Mortensen Wigmore Hall and Bremen Festival – May 2018

• “STANCES DU CID” Cyril Auvity

Charpentier, Lambert, Couperin Ensemble L’Yriade

• “DISPERATA”

Karina Gauvin

Rameau, Destouches, Vivaldi, Handel

Ensemble La Concert de la Loge, J. Chauvin

Wigmore Hall January2017, June 2018

• “BACH AND ITALY” Damien Guillon

Bach/Pergolesi Psaume 51, Vivaldi Nisi Dominus Ensemble Le Banquet Céleste

“ CANTATES ALTO SOLO” “CALDARA MADDALENA AI PIEDI DI

CRISTO”

• “MADRIGALS” Paul Agnew

Monteverdi's Madrigals Bach’s Motets Les Arts Florissants

•“PYGMALION” Paul Agnew

Lully, Telemann and Rameau, a shared language Akademie für Alte Musik Berlin Tour January/February 2018

•“QUEENS” Roberta Invernizzi

Ensemble Academia Hermans / F. Ciofini, conductor

Airs from Loratio's Adelaïde, Handel’s Giulio Cesrae Cleopatra, Berenice, Seleuce...

•“A ROYAL ENTERTAINMENT” Filippo Mineccia

Ensemble Odysee A musical journey in the life of a 18th century

diplomat and musician!

•“SOSPIRI D'AMORE” G. Semenzato/R. Pe

Operatic arias and duets by Francesco Cavalli Claudio Cavina, LaVenexiana

•“IL TRIONFO DEL PIACERE” D. Fasolis/L. Cirillo

I Barocchisti

•“MALINCONIA VENEZIANA” R. Invernizzi/A. Marcon

Lamenti Monteverdi Andrea Marcon, La Cetra

•“PIANTO DI MARIA” S. Prina

Lamenti Monteverdi Akademy fur alte musik Berlin

•“GERMAN INSPIRATION” (provisoire) B. Arnould

Schutz, Weckmann, JC Bach L’Achréon, Viole consort

PIANO RECITAL • “JARDIN PRIVE”

Karina Gauvin Scarlatti, Debussy, Coopland, Bizet, Satie,

Recital with Maciej Pikulski, piano

• “FRENCH MELODIES” Karina Gauvin

Hahn, Duparc, Bizet, Poulenc, Weill, Copland

Recital with Maciej Pikulski, piano

ALLEGORICA Opera Management 20 Passage de la Bonne Graine, 75011 PARIS

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• “BUFFO MA NON TROPPO” Bruno de Simone

Cimarosa, Mozart, Rossini Belcanto

• “BESAME MUCHO” Christian Senn

Spanish and latinameran songs!

“HEROES IN LOVE” GLUCK SONIA PRINA: CONTRALTO

LA BAROCCA / RUBEN JAIS: CONDUCTOR

1° parte Le cinesi, Sinfonia

“Nobil onda” da Sofonisba “Ah non turbi il mio riposo” da Telemaco

Ipermestra, Sinfonia “Sì ben mio sarò se il vuoi” da La caduta de’ giganti

“Se in campo armato” da Sofonisba

2° parte Semiramide riconosciuta, Sinfonia

“Se tu vedessi come vegg’io” da Ippolito “Sperai vicino il lido” da Demofoonte

Ballabili da Orfeo e Euridice “Dal suo gentil sembiante” da Demetrio

“Tradita, sprezzata” da Semiramide Riconosciuta The renowned contralto Sonia Prina explores Gluck’s heroes as nobody else before. An exciting selection of the greatest arias for contralto from Gluck’s opera works Ezio, Paride and Elena, Orfeo, Armida, Le Cinesi, Demoofonte.. with almost all world premiere recordings arias. This idea is one of the artist’s dream and it is planned to be recorded in September 2016. This project is in collaboration with La Barocca conducted by Ruben Jais. This baroque new ensemble based in Milan – Auditorium Verdi has started to become a major reality in the international baroque scene. http://www.labarocca.it/


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http://www.labarocca.it/


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“TITANS” – Senesino and Farinelli With ladies will be more fun.. ☺

! !

Sonia Prina and Vivica Genaux

Concerto Copenhagen

Lars Ulrik Mortensen

Soprano versus Contralto? The reason of a rivalry!

Why two Baroque singers with different voice range should fight each other? A celebrated soprano could not share the same stage with a famous contralto? Not always, especially if they both aspired to perform leading role on an Operatic production. Indeed, from eigtheen Century on the hierarchy of singers on the Operatic stage was very strict. Being the primo uomo of an Operatic production involved many issues : the highest fee, the highest number of gifts from the public, the highest number of peices sang etc For composers and organizers it was not an easy task to accompush such requests once... and it was almost impossible to affods them twice in the same time!

The mezzosoprano Vivica Genaux and the contralto Sonia Prina, accompanied by Concerto Copenhagen, with the expert conducting of Lars Ulrik Mortensen, will perform a choice of music from the best roles of each castrato expecially from London years, where Senesino and Farinelli shared the same staged. Their loves, their Cheroic fights and their rivalry will live again and dazzle he audience!

The present program will include arias and duets in first contemporary performance from operas and serenatas by Giovanni Bononcini, Francesco Gasparini, Geminiano Giacomelli, Johann Adolf Hasse, Antonio Lotti, Nicola Antonio Porpora dn Leonardo Vinci.


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“STANCES DU CID” CYRIL AUVITY /ENSEMBLE

L’YRIADE

Corneille’s « Les Stances du Cid » set to music by Marc-Antoine Charpentier (1643 - 1704) are the pinnacle of this particular french style Air de cour. This

term appears around 1570, when some songs were transcribed for luth. Further then, all the airs, for one or more voices, were named as well. The supremacy of the text and its minimalist musical setting with few instruments creates a special intimacy with the listener. « Les Stances du Cid » also have the distinction of being written for high-tenor, that Marc-Antoine Charpentier interpreted himself. This unique range of its kind, which requires great virtuosity, was used trough the centuries up to the Vaudeville, and Bizet. We wanted to put « Les Stances du Cid » in their historical musical context, which is why we have included to the program some Airs sérieux et à boire by Charpentier, but also by his contemporaries, as well as instrumental music, with Le tombeau de Mademoiselle by Jacques Morel (1690 - 1740) for the first time on disc by L’Yriade.

- Stances du Cid : 7' -Percé jusques au fond du coeur -Que je sens de rudes combats

-Père, maitresse, honneur, amour - Rentrez trop indiscrets soupirs : 2'30

-Ah qu'ils sont courts les beaux jours : 1' - Auprès du feu : 1'30

- Quoi ! je ne verrai plus : 2'30 Amour, vous avez beau redoublé mes alarmes 1’40

Non, je ne l’aime plus 4’ Rendez-moi mes plaisirs 1’30

ruisseau qui nourrit dans ce beau 2’30 retirons nous, fuyons 1’30

Sans frayeur dans ce bois 2’ intro violons? Profitez du printemps 1’40

MICHEL LAMBERT - Ma bergère : 3'20 - Vos mépris : 3'30

JACQUES MOREL - Tombeau pour Mademoiselle : 4'30

FRANÇOIS COUPERIN : - Passacaille extrait de l'Espagnole des Nations : 4'30

JEAN MARIE LECLAIR : - Chaconne extrait de la Première Récréation : 6'40


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“DISPERATA” KARINA GAUVIN, soprano

Le concert de la Loge (dir. Julien Chauvin) “The richness and variety of her extraordinary soprano – ample in tone, mezzo-like in its resplendent depths – was spectacularly displayed in several arias.” The Guardian

“At the very heart of Alcina, Karina Gauvin opens an abyss, transcending a hallucinatins vibration and signs with the interpretation of the title role, the most deeply moving without any doubt, since Arleen Auger” Diapason

*** Arias GRAUPNER Dido, Königin von Karthago, Alessandro SCARLATTI La Griselda HANDEL Almira, Rodelinda VIVLADI Orlando Finto Pazzo, Fida Ninfa RAMEAU Platée, La Folie

Recognized for her work in the baroque repertoire, Canadian soprano Karina Gauvin sings Bach, Mahler, Britten and the music of the 20th and 21st centuries with equal success. The prestigious distinctions she has received include the title of “Soloist of the Year” awarded by the Communauté internationale des radios publiques de langue française, first prize in the CBC Radio competition for young performers, and the Virginia Parker Prize and Maggie Teyte Memorial Prize in London. Karina Gauvin’s extensive discography – over 30 titles – has won numerous awards, including a “Chamber Music America Award” Her recent projects include a European tour and a recording of Ariodante (Handel) for EMI Virgin Classics, along with a European tour and a recording of Giulio Cesare for the Naïve House. Future seasons promise to be exciting: she will sing Armida in Handel’s Rinaldo at the Glyndebourne Festival, Giunone in Cavalli’s Callisto at the Bayerische Staatsoper, Vitellia in Mozart’s La Clemenza di Tito at the Théâtre des Champs-Elysées in Paris, and Armide in Gluck’s Armide with the Netherlands Opera.

****

At the end of his life, le chevalier de Saint George conducted an orchestra named La Loge Olympique. At his head and in the former Palais Bourbons-Orléans, today Palais Royal, he performed major works of his time. Julien Chauvin, violinist, wished to create an independent ensemble, not like any other but an innovative one whose performances should gain him recognition.Today, his unique touch has been acknowledged by international press and led him to perform next to the most famous orchestras in great European halls or in festivals such as Aix-en-Provence or Salzburg. As in every past year, he has been invited in one of the main halls in Paris, Le Théâtre des Champs-Elysées, this time to perform Mozart’s Don Giovanni and Spontini’s La Vestale.


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DAMIEN GUILLON / LE BANQUET CELESTE

“BACH CANTATAS FOR ALTO SOLO” Cantate BWV 35 Geist und Seele, wird verwirret J.S Bach Ach, Schläfrige Seele, wie ruhest du noch ? extrait de la Cantate BWV 115 J.S Bach Pause Concerto pour deux Hautbois et Basson TWV 53 :1 G.Ph.Telemann Cantate BWV 170 Vergnügte Ruh, beliebte Seelenlust J.S Bach

*** Cantate BWV 169 « Gott soll allein mein Herze haben »

Telemann Concerto pour deux Hautbois et Basson TWV 53 :1 Cantate BWV 82 « Ich habe genug » version de 1735

Damien Guillon + 12 musicians

Following his immensely successful first album devoted to Dowland, Damien Guillon returns, accompanied by his ensemble Le Banquet Celeste, in a programme of solo cantatas by J. S. Bach. ‘Front and center is Guillon's singing, which is sweet, nicely rounded in the high tones, and couched in an attitude of relaxed calm. Organist Maude Gratton offers a trio sonata and a sparkling rendition of the Fantasy and Fugue in G minor, BWV 542, which ends the program on a unique rousing note. The instrumentalists have a sensuous sound and are so well coordinated with Guillon that they seem like extensions of his singing. With the emphasis in recordings of Bach cantatas having long been on the grand conceptions of the charismatic figures who have undertaken complete Bach cycles, a small, unified, and beautifully executed recording like this one comes as a breath of fresh air, and it represents the French way with Bach at its best.' AllMusic.com ‘Guillon reveals a Deller-esque intimacy in his approach and production, one of bell-like purity, sailing at the top with enticing honey notes in the lower reache...A most gratifying new view of these super-refined creations.'Gramophone Magazine‘Guillon generally shines in the slower arias, where his sheer vocal beauty has an almost floating quality...Le Banquet Celeste plays with one instrument per part; it has a warm and rich timbre and, under Guillon's own direction, gives him masterful accompaniment.' International Record Review

“BACH & L’ITALIE” Damien Guillon, counter-tenor / Céline Scheen, soprano + 7 musicians

Psaume 51, Tilge Höchster J.S Bach, on Pergolesi’s « Stabat Mater » Salve Regina pour Soprano G.B Pergolesi Nisi Dominus A. Vivaldi

He did not compose a Stabat Mater, but he used the musical setting of Pergolesi's Stabat Mater to set Psalm 51 to music. It is not known why he did this. Analysis of the paper and the autograph of the manuscript suggest that it was composed late in his career, probably around 1748. The melodic lines of the Pergolesi piece are clearly recognizable and to the unschooled ear hardly altered. The important modifications seem to be to the instrumental part of the composition, though Bach wrote stanza 7 as an independent section and shifted stanza 17 and 19 to the next parts. Furthermore, he changed the melodies of the last two parts around. The viola received a more independent role and the continuo has a richer and more elaborate bass. In the vocal parts he made longer notes and sequenses of notes

resolve in single notes. The aim could have been to transform the Pergolesi Stabat Mater into a German cantata suitable for the faithful of the Thomaskirche of Leipzig.


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this is a profoundly thoughtful new interpretation by countertenor Damien Guillon, who directs his own ensemble Le Banquet Céleste and is joined by soprano Céline Scheen. Gramophon March 2016

“MADRIGALS”

PAUL AGNEW / LES ARTS FLORISSANTS

Les Arts Florissant are recording the complete work of Madrigals by Monteverdi. Not exactly all madrigals but a sort of the best of Madrigals in 3 Cds. The first cd has been released recently and is winning all prizes of the press.. First 3 books is CREMONA VOL 1 From 3 to 6 is MANTOVA VOL 2 From 7 to 8 is VENICE VOL 3 « Album of the Week » par The Sunday Times and Grammy Award “Here, the vocalists — Agnew sings and directs from within the ensemble — give us Monteverdi’s own five-voice arrangement of Arianna’s Lament, delivered with the dramatic intensity and attention to textual clarity and dynamic variety that are the hallmarks of the ensemble’s Monteverdi.” Hugh Canning – The Sunday Times, 30th November 2014 “As you would expect from this source, the performances are immaculate, the vocal colouring, the phrasing and the ensemble utterly refined … the sheer accomplishment of Les Arts Florissants is hard to resist.” Andrew Clements – The Guardian, 27th November 2014

In this video you can have an idea of the project: https://www.youtube.com/watch?v=5fBfzMeAVvU

“BACH MOTETS” Komm Jesu Komm SSAATTBB continuo 8’ Ich lasse dich nicht SSAATTBB 4’ Furchte dich nicht - Johann Christoph Bach 4'30 Jesu Meine Freunde - Johann Sebastien Bach - SSATB (a capella) 21’


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https://www.youtube.com/watch?v=5fBfzMeAVvU

Pause Lobet den Herrn SATB 6'30 Tristis es anima mea Kuhnau 4'30 Das ist meine Freude - Johann Ludwig Bach SSAATTBB 4’45 Singet dem Herrn SSAATTBB continuo 19’


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“PYGMALION”

PAUL AGNEW / AKADEMIE FÜR ALTE MUSIK BERLIN Lully, Telemann and Rameau,

a shared language!

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Lully Achile et Polyxene Overture et airs

Telemann Overturen Le Sommeil 55:B3 (including the air ‘Komm Schlaf ’ from ‘Germanicus’ 1. Ouverture2. La Discrétion 3. Menuet I (alternativement) / Menuet II 4. Courante5. La Grimace6. La Doute7. Le Sommeil. Très lentement8. Mercure

Pause

Rameau Pygmalion Chamber Orchestra + Emma de Negri, soprano / Reinoud von Mechelen, tenor / Paul Agnew, Tenor and direction

The idea of the first half of the programme is to explore the influence of French music and particularly of Lully on Telemann (and his contemporaries of course). The very numerous ‘overtures’ of Telemann are based on and named after some very popular Lully editions published soon after his death, mainly in Amsterdam.These collections of dances for reduced and more modern four part orchestra, were entitled ‘Overture et tous les airs de ….’ from whatever opera by Lully. The later german habit of naming suites ‘Overturen’ comes directly from these collections. So the programme opens with a genuine ‘Overture and tous les airs’ and is followed by one of Telemann’s interpretations. Achille et Polyxene is the very last opera of Lully. He composed only the first act before his rather untimely death, and the work was eventually finished by Collasse. There is an excellent overture, and arias for haute-contre and two sopranos, which would nicely introduce our soloists, followed by a chaconne to finish the ’suite’. Le Sommeil 'Overture' speaks for itself and I thought it might be fun to include the aria for soprano from Germanicus. Then Pygmalion in the second half.


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“QUEENS”

ROBERTA INVERNIZZI Academia Hermans - Fabio Ciofini

CD to be released begining 2017

Lotario HWV 26 (1729) Adelaide Aria:Scherza in mar la navicella [05’30’] archi e b.c. (clav. tiorba)

Alcina HWV 34 (1735) Alcina Aria: Ah mio cor, schernito sei! [10’00’] Archi e b.c. (clav. tiorba)

Berenice HWV 38 (1737) Berenice Traditore, traditore [3’35’’] Archi, b.c. (clav. tiorba)

Trio sonata HWV 391 [10’00’] Andante, Allegro, Arioso, Allegro due violini e b.c. (clav. tiorba)

Giulio Cesare HWV 17 (1724) Cleopatra Aria: Tu la mia stella sei [5’16’] Archi, b.c. (clav. tiorba)

Cleopatra [5’20’’] Aria: Piangerò la sorte mia traversa, archi, b.c. (tiorba, fagotto)

Sinfonia bellica [1’22’’] Archi, b.c. (clav. tiorba)

Cleopatra Aria: Da tempeste il legno infranto [5’55’] Archi e b.c. (clav. tiorba)

Cleopatra Accompagnato: Che sento oh Dio [9’50’’] Aria: Se pietà di me non senti Archi e b.c. (clav. tiorba)

Un programma dove travolgenti stati d’animo e sentimenti contrastanti coinvolgeranno l’ascoltatore in un percorso “interiore” di grande respiro. Le più bell e arie di Cleopatra, Berenice Regina di Saba, Seleuce saranno interpretate dal soprano Roberta Invernizzi, autentico monumento vocale della scuola barocca italiana! Tra verità storica e suggestione letteraria, tre grandi figure femminili dell'antichità vengono rilette dal genio di Georg Friedrich Haendel e dalla voce di Roberta Invernizzi. Aprendo con la Regina di Saba (Regina d’Egitto e d’Etiopia) e il suo celebre arrivo (dall'oratorio Solomon), si giunge a Berenice e Cleopatra. Le due regine egizie della dinastia tolemaica sono protagoniste degli intricatissimi intrecci librettistici e dell'acrobatica vocalità haendeliana nelle opere Berenice (tiepidamente accolta al suo debutto al Covent Garden nel 1737, a quasi trent'anni dalla composizione) e Giulio Cesare, tra i massimi successi del compositore.


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“AMORE e MORTE DELL’AMORE”

Roberta Invernizzi – soprano Sonia Prina – contralto

Marco Frezzato, violoncello - Margret Koell, arpa tripla -Luca Pianca, liuto e direzione musicale

Alessandro Piccinini - Toccata Claudio Monteverdi - Eccomi pronta ai baci / Ohimè dov'è il mio ben

Giuseppe Antonio Doni – Toccata - Canzone - Passacaglia


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Claudio Monteverdi - Mentre Vaga Angioletta Domenico Gabrielli - Sonata I

G.F.Händel - Sono liete, fortunate intermission

Antonio Lotti - Poss'io morir Francesco Durante - Son io barbara donna J. S. Bach - Preludio,fuga e allegro BWV 998

G. F. Händel - Tanti strali al sen mi scocchi


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“ATTILIO ARIOSTI, A ROYAL ENTERTAINMENT” FILIPPO MINECCIA, COUNTER-TENOR

ENSEMBLE ODYSEE

A musical Journey in the life of an 18th century diplomat and musician

CD released January 2016

Attilio Ariosti can be counted amongst one of the most interesting musical figures of the beginning of the eighteenth century. A priest, born in Bologna, Ariosti served at several European courts in Germany, Austria, and France where he got acquainted with diplomats, monarchs and philosophers such as Leibniz. He was considered a virtuoso singer and a great performer on many instruments, including the viola d’amore, for which he composed a

substantial amount of music. On top of the success which he has reached with the several oratorios, probably written for the Viennese court, he earned great popularity after moving to London. There he composed operas for the same theatre as Handel and Bononcini.

His daring harmonic writing was noticed by Rameau who quoted his opera Coriolano as the best example of expressive musical writing. The present program draws a line from the alto arias by Ariosti from his early oratorios until his last operas in a breath-taking recital with emerging vocal talent Filippo Mineccia. He is accompanied by Ensemble Odyssee, in a big chamber orchestra setting, as it was customary in the English theatres where Ariosti was used to work on par with Handel and Bononcini.

A programme of more than usual interest […] performed with such commitment and artistry that one is compelled to listen … a really enticing disc, proving that ‘authenticity’ in performance need not mean a reduction in musical enjoyment and enlightenment. Robert Matthew-Walker – International Record Review, December 2014

1 countertenor + 17 / 19 musicians Filippo Mineccia – countertenor Andrea Friggi – harpsichord, conductor 2 recorders • 2 oboes • 2 bassons [optional 1] • 6 violins • 2 violas • 2 cellos • 1 violone • 1 theorbo • 2 harpsichords • 2 trumpets [optional]

Attilio Ariosti Ouverture 7' (1666 - 1729) from: Coriolano (London 1723) Scena & Aria Voi d’un figlio tanto misero from: Coriolano (London 1723) 10' Aria Io spero che in quei guardi 4' from: Coriolano (London 1723) INTERMEZZO I William Babel Ouverture in A 12' (1689/1690 - 1723) previously attributed to Handel George Frederic Handel Aria Può ben nascer & Recit & Aria Belristoro 10' (1685 - 1759) from: Guistino, Act I, scene IV (1737)

Recit Inumano fratel & Aria Stille amare 6' from: Tolomeo Aria Venti, turbini 4' from: Rinaldo (1711) INTERMEZZO II William Babel Concerto III + IV 12' from: Concertos op. 3 (ca. 1712) Attilio Ariosti Recit & Aria Bella lascia ch’io parta 4'30 from: I Gloriosi presagi di Scipione Africano Aria Premerà soglio di morte 4' from: Vespasiano


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Aria Rinasce amor 4'20

“SOSPIRI D’AMORE” FRANCESCO CAVALLI

Operatic arias and duets

GIULIA SEMENZATO, soprano RAFFAELE PE, countertenor

LA VENEXIANA, Claudio Cavina

Recorded for Glossa Music and released in May 2016, this programme marks the return of La Venexiana under the spot light with a refined collection of hidden gems of baroque operas by Francesco Cavalli. “…Claudio Cavina and his ensemble are joined by two exceptional young soloists, soprano Giulia Semenzato and countertenor Raffaele Pe, who lead their listeners through the emotional highs and lows of some of the composer’s lesser-known operas…”

Alexandra Coghlan GRAMOPHONE MUSIC MAGAZINE

June 2016

Two of the brightest singing talents to have emerged from Italy in recent years, Giulia Semenzato and Raffaele Pe, join forces for Sospiri d’amore, a dazzling celebration of operatic arias and duets by that Baroque master of amorous emotions, Francesco Cavalli. Soprano and countertenor are supported by a modern master of Italian Baroque style in Claudio Cavina, who directs La Venexiana (Cavina has also led the Glossa recording of Cavalli’s 1656 opera Artemisia). Working in Venice with some of the best Italian librettists around in the mid-seventeenth century, Cavalli mined rich emotional seams concerning love in his operas – from tragedy to comedy, from profundity to frivolousness, through to sensuality and vivacity – conjuring up a stream of productions which enjoyed great artistic and financial success; his influence travelled far and wide, and even just in the immediate period of the Baroque this included Rameau, Lully and Handel and Purcell. With five full-scale duets amongst the solo arias, ariosos and recitar cantando, this new Glossa recording gloriously shows off the talents of two artists who have been gathering important stage experience in the operas of Cavalli: the Venetian Semenzato and the Lombard Pe (who made his debut on the label with The Medici Castrato). Space is also found for one of the vocal genres which Cavalli can lay claim to instigating – the dramatic lamento, here in the form of Lassa, che fò from Statira. In addition, an intriguing picture of Cavalli and his operatic inspiration is to be found in the booklet essay written by Olivier Lexa.

O luci belle (duetto, Eritrea, 1652) Qui cadè al tuo piè (duetto, Orimonte, 1650) Né meste più (duetto, La Veremonda, 1652) Vanne intrepido o mio bene (aria soprano, Statira, 1655)

L’aspetto feroce (duetto, Muzio Scevola, 1665)

Dario Castello (Venezia, ? – 1658) Sonata decima a due violini e basso continuo


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Hor che l’Aurora (dialogo, Egisto, 1643) Io misero fui Rege (alto, Scipione, 1671) Io chiudo nel core (duetto, Il rapimento di Elena, 1653)

D’Amor non si quereli (duetto, Ormindo, 1644) Si, si, che questa notte, (duetto, Ormindo, 1644)

“IL TRIONFO DEL PIACERE” A thrilling recital of Handel’s arias.

Lucia Cirillo, mezzo soprano I Barocchisti

Diego Fasolis, conductor

"Il Trionfo del Tempo e del Disinganno" HWV 46 Sonata del Ouvertura "Fosco genio, nero duolo"

"Un Pensiero nemico di Pace" Sonata per Organo

"Un leggiadro giovinetto" "Chiudi i vaghi Rai"

Suites in Sol maggiore HWV 399

Pausa

"Tu giurasti di mai non lasciarmi" "Lascia la spina cogli la rosa"

Concerto Grosso Op3. Nr 2HWV 313 "Come nembo che fugge dal vento"

"Tu del Ciel ministro eletto"


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In 2016 La Scala entrusted him with the creation of an orchestra on period instruments : Handel’s Il Trionfo del tempo e del Disinganno with Lucia Cirillo as Piacere earlier this year and Tamerlano with Placido Domingo in 2017).

The ensemble “I Barocchisti” is internationally acclaimed as a leading exponent of period instrument performance. Under the direction of Diego Fasolis, the ensemble has successfully recorded several concerts and productions. Furthermore, it has consistently worked with leading international soloists, including, among others, Philippe Jaroussky and Julia Lezhneva (Pergolesi’s Stabat Mater, ERATO) as well as Maurice Steger (Vivaldi Concertos, Harmonia Mundi). In recent years, the ensemble has started an extraordinary collaboration with Cecilia Bartoli.

“Lucia Cirillo’s Piacere was the standout performance, impishly daring in her embellishments and sensuous in the famous aria “Lascia la spina”. “ Financial times January 2016


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“MALINCONIA VENEZIANA” ROBERTA INVERNIZZI

LA CETRA

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This thrilling program brings the Grammy nominated La Cetra Barockorchester Basel together with the incomparable soprano Roberta Invernizzi to celebrate the Monteverdi year 2017. Who could better span the music of the Italian Renaissance to the Baroque in a more elegant, enticing and historically informed way than one of the most popular and charismatic baroque singers of our time? Roberta Invernizzi and La Cetra have put together a rich program entitled “Malinconia veneziana – arie, sonate e lamenti del Seicento”. In addition to Monteverdi, the program includes works by some of his Venetian contemporaries as well as the singer and composer Barbara Strozzi whose works were at the time more often performed than those of any of her rivals…

Claudio Monteverdi (1567-1643) “Tempro la Cetra” from Settimo libro de madrigali

Biagio Marini (1594-1663) Sonata 24 a quattro from Per ogni sorte di strumento musicale

Claudio Monteverdi “Disprezzata Regina” from L'Incoronazione di Poppea

Dario Castello (ca. 1600-1658) Sonata nona from Sonate concertate in stil moderno, primo libro

Claudio Monteverdi “Ohimè ch’io cado”

Instrumental piece TBD: violin and/or harpsichord solo

Claudio Monteverdi

„Signor quell'infelice" from L’Orfeo (Venezia, 1609)

PAUSE/INTERMISSION

Giovanni Battista Buonamente (c.1595-1642) Ballo del granduca from Quarto libro de varie sonate

Barbara Strozzi (1619-1677) “Tradimento” from Diporti di Euterpe op.7

Biagio Marini Sonata sopra la Monica from Sonate, symphonie, canzoni op. 8

Barbara Strozzi (1619-1677) “Sino alla morte” from Diporti di Euterpe op. 7

Giovanni Valentini (ca. 1583-1694) Sonata à 6 Stromenti from Partiturbuch Jakob Ludwig

Benedetto Ferrari (1603-1681)


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“Amanti ch’io vi so dire” from Musiche varie a voce sola, libro III


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“IL PIANTO DI MARIA” SONIA PRINA

Akademie für Alte Musik Berlin

Sonia Prina is passionate of the alto parts by Handel and Vivaldi, and worldwide celebrated for their interpretations. Her new program with the Akademie für Alte Musik Berlin presents three highly expressive vocal works, a perfect showcase for her remarkably flexible voice. “Il pianto di Maria”, once attributet to Handel, was probably written by Giovanni Battista Ferrandini, a highly appreciated composer at Munich’s court in the mid-18th century.Its text is freely inspired by the Stabat Mater and depicts the pains and sorrows of the Blessed Mother who is reflecting on Jesus' death on the cross. In the famous centerpiece of the cantata, the aria "Sventurati miei sospiri", the unhappy sighs of Mary are transformed into linked suspensions and discords creating a highly moving expression. Locatelli's Concerto "Il pianto d'Arianna" is a bold counterpoint in the second part of the program. This Concerto à 4 of the Bergamo-born violinist and composer is an unconventional masterpiece on the threshold of the classical era. Locatelli here created an opera scene without singers. Using instrumental recitatives and arias he describes the desperate plaints of Arianna abandoned by Theseus. Two other vocal works captivate their listeners through expressive musical images. Bach's cantata "Just resist sin, lest its poison seize you" shows the beauty of sin in insinuating melodies, whilst harmonic audacity shows their wickedness and danger Christians have to watch out. Highest vocal demands are required for the motet "Longe Mala". The complaint about injustice of the world, about its wars and epidemics was rousingly set to music by Vivaldi. From fragile delicacy, however, is the invocation to the sky, mankind is to grant the divine light, until finally the Alleluia erupts in joyous coloratura.

Georg Friedrich Händel (1685-1759) Concerto grosso op.6, No. 2 F Major

Giovanni Battista Ferrandini (1709-1791) fomerly attributed to Händel „Il pianto di Maria“ or „Giunta l'ora fatal“ (Sacred cantata)

- Interval -

Johann Sebastian Bach (16185-1750) „Widerstehe doch der Sünde“ Cantata BWV 54

Pier Antonio Locatelli (1695-1764) Concerto a 4 “Il pianto d’Arianna“

Antonio Vivaldi (1678-1741) Longe Mala, umbrae, terrores RV 629

Motetto for soprano, due violini, viola and basso


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“GERMAN INSPIRATION”

BENOIT ARNOULD L’ACHERON, viola da gamba consort

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- Wie bist du denn, O Gott - Johann Christoph Bach - Salve Regina - Johann Rosenmüller - Erbarm dich mein, o Herre Gott - Heinrich Schütz - O Jesu Dulcissime - Franz Thunder Lutheran Germany in the 17th century has an extremely difficult political and religious background. But at the same time, a climate of intense intellectual effervescence build an unique identity to the German musical language after it was positively enhanced by the influence of French and Italian music. This program will explore all this new music in a perfect marriage featuring a consort of viola da gamba, the baritone voice and a violin virtuoso of "stylus fantasticus". We follow in the footsteps of Heinrich Schütz and his student Matthias Weckman or Franz Thunder, Johann Rosenmüller, etc.

Johann Christoph Bach has aroused admiration of his nephew Johann Sebastian, who considered him as a "deep composer". His Lamento "Wie bist du denn, O Gott" is particularly the perfect synthesis of this musical renewal by his incredible rhythmic and harmonic innovation and also thanks to an impressive violin part. Here we have the signature of this sacred music of an extraordinary intensity to which J.S. Bach will give a dazzling succession.

www.benoitarnould.com http://www.lacheron.com/


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http://www.benoitarnould.com/

http://www.lacheron.com/


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KARINA GAUVIN, soprano with MACIEJ PIKUSLKI, piano

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“FRENCH MELODIES”

SCARLATTI, Alessandro Toglietemi la vita ancor Cara, cara e dolce Gia il sole dal gange DEBUSSY, Claude Ariettes oubliées C'est l'extase langoureuse Il pleure dans mon cœur L'ombre de arbres Chevaux de bois Aquarelles I. Green Aquarelles II. Spleen Recit et air de Lia ( L'enfant prodigue) COPLAND, Aaron

The Boatmen's dance The Dodger Long time ago Simple Gifts SATIE, Eric Je te veux Poulenc Les chemins de l'amour BIZET, Georges, Guitare Adieux de l'hôtesse arabe Ouvre ton coeur

“SECRET GARDEN”

SCARLATTI, Alessandro - Toglietemi la vita ancor (1659-1725) - Cara, cara e dolce - Gia il sole dal gange

DEBUSSY, Claude Ariettes Oubliées (1862-1918) - C'est l'extase langoureuse - Il pleure dans mon coeur - L'ombre des arbres - Chevaux de bois - Green - Spleen

- Air de Lia (L'enfant prodigue)

BRITTEN, Benjamin - Royauté - Corpus Christi Carol - The trees they grow so high - Marine

SATIE, Eric -Je te veux POULENC, Francis -Les chemins de l'amour


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BIZET, Georges - Chant d'amour - Pastorale - Guitare

DELIBES, Leo -Les filles de Cadix

“BUFFO MA NON TROPPO !”

Bruno de Simone (baritono)

Un bacio di mano, Aria da camera K541 di W.A, Mozart Manner suchen stets. Aria da camera K433 di W.A. Mozart

Le figliole che so de vent’anni Aria di Giampaolo da Le astuzie femminili di D.Cimarosa Hai già vinta la causa? Aria del Conte da Le nozze di Figaro di W.A. Mozart

Tutto è disposto. Aria di Figaro da Le nozze di Figaro di W.A.Mozart Intanto Armenia Aria di Isidoro da Matilde di Shabran di G.Rossini

Sia qualunque delle figlie Aria di Don Magnifico da La Cenerentola di G.Rossini Udite, o rustici Aria di Dulcamara da L¹Elisir d¹amore di G.Donizetti

Già d’insolito ardore nel petto da L¹Italiana in Algeri di G.Rossini Qui m’accolse Aria di da Beatrice di Tenda di V.Bellini.

Recognised as a byword in comic opera and bel canto repertoire, Bruno de Simone is one of the most valued singers-

actors on the international opera scene. Born in Naples, he combined his university degree with study in music and

singing with Sesto Bruscantini and began to distinguish himself as the ideal performer of dramma giocoso from the

18th and 19th century and comic opera, especially Rossini – with seventeen roles – and Donizetti repertoire. He is

currently confirmed as an indispensable singer in this sphere. He has also made a name for himself in the world of

comic opera with works and is now considered to be the leading singer in this field, being the most prolific performer

of this repertoire.

His work as a specialist in Rossini repertoire has been awarded with the Rossini d'Oro Prize (2007), being recognized

as the ideal performer of the role of Don Bartolo in Il Barbiere di Siviglia, Don Magnifico in La cenerentola, Taddeo

in L’Italiana in Algeri, Raimbaud in Le Comte Ory, Germano in La scala di seta, Pacuvio in La pietra del paragone

and the poet Isidoro in Matilde di Shabran. With Donizetti repertoire he has performed in numerous productions of

Don Pasquale, in the title role and also in the role of Dott. Malatesta, whilst in L’elisir d’amore his Dulcamara and his

Belcore are famed.

“BESAME MUCHO !”

Christian Senn (baritono) Amazing experience to have a wellknowed operatic interpret to perform this traditional and populare repertoire of spain and latinamerican songs!


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Ciclo de canciones "las flores Argentinas" di Carlos Guastavino. *** Canzoni popolari, boleros


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allegorica special projects · primo uomo of an operatic production involved many issues : the...

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