#ottavio dantone

[takmiblog]

#j s bach #sonata #viktoria mullova #ottavio dantone #j. s. bach #vittorio ghielmi #luca pianca

[elmartillosinmetre]

"Grabar a Haendel tras el confinamiento fue como volver a la vida"

[Ottavio Dantone, director de la Accademia Bizantina / GIULIA PAPETTI]

Al frente de su Accademia Bizantina, Ottavio Dantone publica la grabación de las dos colecciones de ‘concerti grossi’ de Haendel

La Accademia Bizantina es uno de los conjuntos barrocos italianos que tiene mayor actividad discográfica. Fundado en Rávena en 1983, seis años después, tras la primera colaboración con Ottavio Dantone (Ceriñola, 1960), el conjunto empezó a trabajar con instrumentos de época. En 1996, Dantone, uno de los clavecinistas más prestigiosos de nuestros días, se convertiría en su director artístico y ahí sigue. Su último lanzamiento: los concerti grossi de Haendel.

–Han grabado las dos colecciones de concerti grossi de Haendel. Pero lo cierto es que la Op.3 y la Op.6 sólo se parecen en el nombre genérico que se les da y en el autor, porque son muy diferentes la una de la otra. ¿Puede resumirme esas diferencias?

–La diferencia principal está en el hecho de que el Op.3 fue publicado en 1734 por John Walsh sin que Haendel tuviera conocimiento de ello. Walsh era un editor muy potente y, además, no existían los derechos de autor en esa época o eran muy informales. Lo que importa es que estos conciertos fueron construidos reuniendo fragmentos procedentes de otras obras preexistentes (oratorios, óperas, música para clave, etc.) sin una idea necesariamente unitaria. En cambio, el Op.6 fue pensado y compuesto por Haendel cinco años después, completado en un mes y casi íntegramente con música nueva. Aquí la estructura y el estilo están ciertamente inspirados en la forma del concerto grosso y vemos un claro homenaje y referencia a Arcangelo Corelli.

–¿Podemos realmente llamar concerti grossi a las obras de la Op.3?

–En efecto, no. Ninguno de los movimientos presenta el típico diálogo entre el concertino, esto es, la pequeña sección compuesta por dos violines y violonchelo, y el resto de la orquesta de cuerda. En esta colección, tenemos sobre todo intervenciones solísticas de oboes, fagotes, flautas e incluso del órgano, y más raramente del violín. De hecho, el término concerti grossi se utilizó sobre todo para atraer a los compradores tras la popularidad y el éxito de las publicaciones precedentes como la del Op.6 de Corelli veinte años antes. Dicho esto, y pese a la disparidad conceptual y formal, se trata sin duda de música bellísima.

–En la Op.3 hay dos reconstrucciones suyas. ¿Puede comentar por qué la necesidad de estas reconstrucciones y qué ha tenido en cuenta para hacerlas?

–Quienquiera que se haya ocupado de orquestar y adaptar las piezas que componen los conciertos del Op.3, probablemente lo hiciera de manera apresurada e infundada. Por ejemplo, los Conciertos nos. 3 y 5 tienen la parte de las violas siempre a la octava con el basso, lo que seguramente Haendel nunca habría hecho. Además, a menudo hay errores o ciertas incongruencias en el desarrollo de las partes. Así que para devolver justicia al autor y dar el máximo brillo a su música, decidí intervenir corrigiendo ciertas cosas incorrectas, añadiendo la parte de las violas donde se carecía de ella, a través del estudio atento de la estética de la escritura haendeliana y el máximo respeto por su pensamiento.

–Por el contrario a los de la Op.3 conocemos a la perfección la fecha de composición de la Op.6 y su destino, la temporada 1739-1740 del Lincoln’s Inn Fields Theatre, pero para entonces la forma del concerto grosso estaba ya un poco pasada de moda, ¿por qué piensa que Haendel recurrió a ella?

–Handel escribió estos magníficos conciertos para enriquecer el repertorio que se solía proponer en los intervalos de los oratorios. El público estaba deseando escuchar el virtuosismo de Haendel en los Conciertos para órgano y esa misma majestuosidad encaja indudablemente con el concerto grosso y en concreto este Op.6, que aunque esté inspirado seguramente en el gran Arcangelo Corelli, se alza, en definitiva, como cumbre suprema y máxima evolución de este género.

–Tiene razón. A veces pienso que no hay colección orquestal más extraordinaria que esta en toda la primera mitad del siglo XVIII (quizá sólo la Op.3 de Vivaldi y los Brandenburgo de Bach podrían disputarle el primer puesto).

–Sí, así es… Estamos, sin duda, ante una de las músicas más bellas jamás escritas del XVIII y de toda la historia.

–Veo que grabaron la Op.3 en enero de 2020 unos días antes de que la pandemia llegara a Italia y la Op.6 en julio de 2020, después del primer confinamiento duro. ¿Qué supuso eso para el registro, cuál era el ambiente de las sesiones de verano?

–Fue uno de los momentos más felices de nuestra experiencia musical. Veníamos de un largo periodo de inactividad y este fue el primer proyecto después de meses de forzado arresto. Cuando nos encontramos por primera vez para hacer los ensayos, había una luz en nuestros ojos que expresaba la alegría de volver a hacer música juntos. Fue como un regreso a la vida y además, con el aliciente añadido de estudiar y grabar música maravillosa. Lo que realmente hace especial esta grabación es que, más allá de la investigación filológica y de la interpretación, estoy convencido de que conseguimos impregnar este trabajo de nuestras sensaciones más profundas, transmitiendo las emociones y los significados en un modo totalmente natural y espontáneo.

–Más de un cuarto de siglo ya al frente de la Accademia Bizantina, ¿cómo ha cambiado a su modo de ver el mundo de la interpretación barroca en este tiempo?

–Yo y mis colegas que nos ocupamos de la música antigua recogemos el legado de aquellos estudios de redescubrimiento filológico de los instrumentos y del lenguaje del pasado, fruto del trabajo y la pasión de los pioneros del sector desde los años 50. El desarrollo, la profundización y la progresiva especialización técnica y estética en lo relativo al repertorio barroco ha permitido que el público decretase el éxito de las ejecuciones y grabaciones con instrumentos originales, sobre todo porque fue finalmente comprensible en su aspecto comunicativo y expresivo. De hecho, hoy en día resulta incluso extraño que se toque música barroca con instrumentos llamados “modernos”. En cuanto a nuestro conjunto, desde el inicio de nuestra trayectoria, nuestro trabajo ha sido recuperar un lenguaje lo más próximo posible a las intenciones del autor (a través de un atento y constante estudio de los códigos retóricos y emocionales de los siglos pasados) y, al mismo tiempo, eficaz y comprensible para el oyente de hoy.

[La Accademia Bizantina y los colores del Barroco / AB]

–La discografía de la Accademia Bizantina es amplísima, pero llegado un determinado momento deciden crear su propio sello, ¿por qué?

–En un momento de profunda crisis del sector discográfico, sentimos la necesidad de tener nuestro propio sello para realizar y difundir los proyectos que nos interesan especialmente, ya sean inéditos o más conocidos. Tener nuestro propio sello nos ofrece el privilegio de disponer de una libertad y una independencia creativa e intelectual que en estos momentos es, sin duda, un lujo.

–La edición de estos conciertos de Haendel es muy especial y no parece barata. ¿Realmente compensa la inversión?

–Nuestra orquesta está viviendo un momento artístico y creativo muy feliz. El hecho de haber apostado por un grupo estable y de alto nivel, nos está reportando resultados que nos llenan de satisfacción en términos de química, unidad y reconocimiento estilístico y sonoro. Gracias a una cuidada y comunicativa campaña de márketing, el público (incluido el más joven) nos ha compensado con millones de visualizaciones y escuchas. Todo esto nos anima a seguir este camino.

–En sus últimos registros, suelen alternar las grandes obras escénicas con la música instrumental, ¿piensan seguir por este camino?

–Sí, por supuesto, aunque la naturaleza de nuestro ensemble nos lleve a centrarnos mucho en el repertorio instrumental, tanto barroco como clásico y romántico. De hecho, tras la publicación del Op.3 y Op.6 de Haendel, hemos llevado a cabo varios discos que sacaremos en las próximas temporadas. En primavera, está previsto la salida de la Cuarta Sinfonía de Mendelssohn y la Tercera de Schumann. Y luego seguirán los Concerti grossi Op. 6 de Corelli y los del Op.3 de Geminiani. Posteriormente, saldrá también la Júpiter de Mozart y la 104 de Haydn. En otoño, grabaremos la Quinta de Beethoven y la Trágica de Schubert.

–¿Que otros proyectos inmediatos puede comentarnos?

–Acabamos de realizar una gira con una producción de Il Tamerlano de Vivaldi por varios teatros italianos, y en los próximos meses presentaremos esta obra en versión de concierto en el Stary Teatr de Cracovia y el Palau de la Música Catalana de Barcelona. Además, están previstos diversos conciertos en Italia y en Europa con un programa titulado L’Orfeo del Violino, que incluye Concerti grossi de Haendel, Corelli y Geminiani. En las próximas temporadas, haremos también óperas en Ámsterdam y en Innsbruck… Y, además, como director, tendré varios conciertos y óperas en La Scala, La Fenice, Zúrich, Viena, París, Tokio… ¡No habrá tiempo de aburrirse!

[Diario de Sevilla. 26-02-23]

LA OP.6 DE HAENDEL EN SPOTIFY

LA OP.3 DE HAENDEL EN SPOTIFY

#accademia bizantina #ottavio dantone #georg friedrich haendel #música #music #Youtube #Spotify

[gasparodasalo]

Antonio Vivaldi (1678-1741) - Concerto for Violin, Strings and Basso continuo in e-minor, RV 281, III. Allegro. Performed by Giuliano Carmignola, violin, and Ottavio Dantone/Accademia Bizantina on period instruments.

#antonio vivaldi #baroque #classical music #violin #orchestra #period performance #period instruments #baroque music #violin concerto #concerto #strings #string orchestra #violinist #vivaldi

[lesser-known-composers]

Giuseppe Sarti (1729-1802) - Giulio Sabino: Act I: Aria: Pensieri Funesti (Sabino)

Artist: Sonia Prina, Artist: Richard Barker

Conductor: Ottavio Dantone

Ensemble: Accademia Bizantina

#Giuseppe Sarti #opera #classical music #Youtube

[classicalmusicdaily]

In a conversation with ADELINA DIACONU, MATTEO MEZZARO talks about his experience on stage, his favorite roles, which artists influenced his development in the last years and also about the difficulties he had to deal with while performing. Being a very special voice, he manages to combine very well baroque technique and belcanto repertoire. If you want to know how you can have the best of both worlds, you should definitely read this interview! Graduated in renaissance singing, organ and composition, the tenor Matteo Mezzaro is also a specialist in baroque and romantic opera. He studying operatic repertoire with the tenor Sergio Bertocchi. He performs in many concerts and opera production under the guidance of such prestigious baton as Z. Metha, M-W Chung, V. Galli, D. Oren, F.I.Ciampa, J. Begnamini, P. Auguin, O. Dantone, G. Leonhard, C. Hogwood, T. Koopman, M. Radulescu, F.M. Bressan, Jordi Savall, F.M. Sardelli, G. Bisanti, G. Ferro, etc.., and stage director like M. Znaniecki, V. Borrelli, D. Michieletto, D. Abbado, F. Micheli, G. Salvatores, P. Pizzi, I Stefanutti, D. Krief, etc… Especially at the beginning of his career, he performed in many roles from barock opera repertoir as Demetrio in Purcell’s The Fairy Queen at Wielki Theater in Poznan, as Mitrane in Mayr’s Demetrio at Festival Opera Obliqua (first performance in modern times), as Mitridate in Vivaldi’s Il tigrane at Festival Opera Barga (LU) under the baton of Federico Maria Sardelli, as Uriel in Haydn’s Die Schöpfung at Festival de Santander, as Marchese della Conchiglia in Piccinni’s La Cecchina at Piccolo Festival of FVG, as Eurillo in Scarlatti’s Gli equivoci nel sembiante at Teatro dei Differenti di Barga. In a moment of his career he choosed to work much more with romantic repertoire. He performed roles like Nemorino in L’elisir d’amore at Teatr Manoel in La Valletta (Malta), Mozart in Korsakov’s Mozart e Salieri at Teatro Verdi di Pisa, Fracasso in Mozart’s La finta semplice for ASLICO, Conte Alberto in Rossini’s L’occasione fa il ladro in Teatro Verdi di Trieste, Don Ottavio in Mozart’s Don Giovanni in festival ASLICO and in Piccolo Festival of FVG, Tenore Italiano in J.Strauss’ Capriccio in Metz (France), Alfredo in Verdi’s La Traviata for Opus Lirica in San Sebastian (Spain),Tenore Guglielmo in Donizetti’s Le convenienze e inconvenienze teatrali in Pisa, Lucca and Livorno, Beppe in Donizetti’s Rita at the Tearo comunale of Treviso, Camille de Rosillon in Lehar’s La vedova allegra in the Teatro Lirico di Cagliari, Cassio in the G. Verdi’s Otello at the Gran Teatro la Fenice of Venice, Beppe in the Leoncavallo’s Pagliacci at the Teatro del maggio musicale fiorentino and Teatro Massimo of Palermo, Rinuccio in the G. Puccini’s Gianni Schicchi at the Teatro Filarmonico of Verona. Also active in symphonic and sacred field, he sang Mayr’s Requiem, J. S. Bach’s Gottes Zeit ist die allerbeste Zeit, Haydn’s Theresienmesse, Handel’s Messiah, Carolin Te Deum and Ode for S. Cecilia’s day, Mozart’s Requiem, Haydn’s Die Schöpfung, Listz’ Via Crucis and Missa Solemnis, Rossini’s Petite Messe Solennelle di Rossini, Britten’s Saint Nicholas, Stravinsky’s Oedipus Rex just to name a few. He made his role debut as Paolino in Cimarosa’s Il matrimonio segreto at Teatro Malibran in Venice in 2010. Ciao Matteo and thank you for accepting our invitation! I know that these days you are in the middle of several representations with L’elisir d’amore by Gaetano Donizetti, in which you sing a role loved by any lyrical tenor. Tell us, please, what does the music of Donizetti means for you and how do you feel returning at Teatro Lirico di Cagliari? First of all thanks for the invitation. It’s a pleasure for me to have this conversation with you and your special Magazine. As you said in this moment I’m singing Nemorino in Cagliari, one of the roles I always dreamed to sing. I feel comfortable singing Donizetti’s music because it is good for my voice. In this music my voice finds the right ground to express itself.

It’s also a pleasure to sing it here, in Cagliari, because it’s an opera house that believed in me from the beginning of my career. Tell us some details about this fresh production of E’elisir d’amore, conducted by Roberto Gianola and directed by Michele Mirabella, with performances between 4-15 March 2022. How was the collaboration with the cast and the team? How did you perceive the directorial concept? I already sang this role with M° Gianola, so it was a pleasure for me to meet him again in Cagliari. I felt very lucky. I have wonderful colleagues who are friends and singers I’ve already work with. We’re working as a real team and think my Nemorino has improved also thanks to the interaction with the other characters of the opera. Which is the guideline of Nemorino – your character? How did you conceive your role, guided by the stage director of the show? I haven’t a possibility to work directly with Michele Mirabella, the original director of the production, because this is its third revival. Anyway I put on stage all my ideas about Nemorino: he is shy, that’s why he can’t tell her the truth, but when he is drunk, after the trick of Dulcamara, he looses every control and he puts all his expectation on the “Elisir d’amore”. He is an interesting character to portray because he faces many obstacles during his evolution during the opera. Nemorino represents youth, energy and that’s because he needs a dynamic actor on stage. I think that maybe It’s more stressful his theatrical aspect than his vocal request. Matteo, which artists influenced your career in the last years? I am referring here also at conductors and stage directors, who, these days, have a major influence on a performance. Have you ever had any kind of difficulties with these two entities? In my career there are many artists who influenced me, but there is expecially one above all: Graham Wick. I worked with him on Don Giovanni. The most important training to enter totally in the plot was finding the different meanings of the text. As concerns the conductors I worked really good with Maestro Mariotti.  I also expressed him my admiration for the process of the rehearsals and his research of perfection. During the latest years the theatres have the necessity to product as much as possible and many times there isn’t time to deepen. Today, probably the music is not more important than visual aspects of the production, but It always depends on the sensibility of the artists that are involved in the creation. Your vocal category is very appreciated, but still very hard to maintain in it’s full capacity all the time. Have you ever had difficult moments, when you felt that your voice was on the wrong path, technically speaking? How did you overcome them? I don’t know if it’s possible to maintain the full capacity of the voice for the entire career, but I know, in my experience, that the knowledge of the body and the voice are probably the must important way to make a long career. I mean, a lifestyle without excesses (healthy food, good sleeping) and a daily practicing of technique, is fundamental to build a solid career. If you know what is dangerous for your voice, you know how to manage all the obstacles. You started at a young age to study music, you refined your training under the guidance of important masters, you graduated in renaissance singing, organ and composition, and today you are a specialist in baroque and romantic opera. How important are for you belcanto technique and belcanto repertoire? The belcanto technique is really important as a foundation for the voice’s health. When I sang Baroque and Renaissance repertoire, I worked expecially about the interpretation and the singing style. I started to study technique with Maestro Bertocchi, and after this experience, I can say that it’s really important to know all the possibility of your voice before choosing the repertoire. Did you ever consider to share the accumulated knowledge with the younger singers, at masterclasses or, maybe, in Music Universities?

Yes, I thought about that,  but at the same time I’m worried about the responsibility on the students’ voice. I believe that when you study singing, if you improve it’s not only thanks to the teacher. Singing is a process you have to do together with your teacher and it’s not certain you will be able to do it. But I would be ready and happy, If someone will ask me any advices, to share my experience. How do you see the future of opera perfomances, having in mind the situation and changes from these two years? The future has to be live performances,  I don’t believes so much in streaming performances or other virtual solutions. I think perhaps the theatres have to invest in new music works, always bearing in mind that the theatre must stay in touch with the society’s sensibility. The theatre can be only a laboratories and experimental world. The music and the performance has to bring the audience in a dream. What does it mean for you to be successful? For me, during these years, the most important objective is to survive and to have the possibility to continue to work and live thanks to this job. I feel It’s important to continue to improve myself: this means success for me. Can you share with us some of your future engagements? Is there any role or musical piece that you dream to sing, but you don’t have yet the opportunity? In the next months I will sing alongside the Opv (Orchestra di Padova e del Veneto): I’ll perform in different concerts “Davide Penitente” by Mozart and the Rossini’s Stabat Mater. My next opera productions will be this summer, La Traviata and Turandot at the Arena di Verona Opera Festival 2022. There are other projects that are not confirmed yet. I dream and I’m working on the possibility to sing the roles of  Duca di Mantova in Rigoletto, Edgardo in Lucia di Lammermoor, Gennaro in Lucrezia Borgia and in a next future Rodolfo in La Bohème. At the end of our interview, please tell us what is the most charming feature of opera? In my opinion Opera will have a future if we’ll continue to convey emotions to the audience. Sometimes, today, we work in a tight deadlines and we often go on stage not really sure. The audience has to be our first thought because without them we wouldn’t exist and our study-formation process too. Thank you, Matteo! In bocca al lupo! reposted from https://opera-charm.com/

[rolflovesclassicalmusic]

I decided to rewrite and expand one of my earliest CD reviews, from 11 years ago, and it was well worth the effort! — Sonatas for Harpsichord (Cembalo concertato) and Violin, BWV 1014-1019 — Comparing recordings with Andrew Manze & Richard Egarr (1999), Rachel Podger & Trevor Pinnock (2000), Viktoria Mullova & Ottavio Dantone (2007), Isabelle Faust & Kristian Bezuidenhout (2016)

#rolfsmblog #cdreview #cdcomparison #comparison #review #classicalmusic #violin #violinsonata #harpsichord #cembalo #manze #egarr #terlinden #podger #pinnock #mullova #ottaviodantone #isabellefaust #bezuidenhout

[newmic]

Récital Andreas Scholl au Festival International de Musique Baroque de Beaune

"Récital Andreas Scholl au Festival International de Musique Baroque de Beaune" sur https://www.radiofrance.fr/francemusique/podcasts/le-concert-de-l-apres-midi/recital-andreas-scholl-au-festival-international-de-musique-baroque-de-beaune-9593167 via @radiofrance

[boyiwakwambvukuta]

I got the #lyrics for "Concerto for Violin and Strings in D Major, RV 232: II. Largo" by Giuliano Carmignola feat. Ottavio Dantone & Accademia Bizantina on Musixmatch https://www.musixmatch.com/lyrics/Giuliano-Carmignola-Ottavio-Dantone-Accademia-Bizantina/Concerto-for-Violin-and-Strings-in-D-Major-RV-232-II-Largo?utm_source=application&utm_campaign=api&utm_medium=musixmatch-android%3A552993462

[loosealcina]

DOMENICO CIMAROSA’S IL MATRIMONIO SEGRETO AT LA SCALA, SEPTEMBER 10, 2022

As soon as the very first performance of Il matrimonio segreto came to a close (the caption at the bottom of this scene is Vienna, early 1792), the audience was so wildly overwhelmed by joy that that one of the spectators—Emperor Leopold II himself—asked the company to play the entire show all over again. And they—so the story goes—did oblige. This famous fun fact may stir our expectations a little bit, but it also tells us something about what Il matrimonio segreto is not likely to deliver. Just picture an excellent iteration of, say, Benjamin Britten’s A Midsummer Night’s Dream; can you imagine anybody asking for a full repeat of that? In fact, as Niccolò Paganini would confirm, nobody wants to (or can) repeat a truly sensational, mind-blowing experience. Am I suggesting if you want extremes (including extremely good), look elsewhere? Possibly. Director Irina Brook seemed to intend her production of il matrimonio segreto (born and nurtured within the Accademia Teatro alla Scala, under the label Progetto Accademia) as an exercise in serene, harmless comedy. Its most interesting trait was—to me—that every single character was treated with respect, and sympathy. (You’ve got to consider that in this kind of business, laughs are often supposed to come from stark contempt, as in hey, this bloke is ugly/decrepit/gross/despairingly dumb… Now isn’t it funny? On the contrary, this Matrimonio segreto did point out that you can be goofy, nerdy, and clumsy without being repulsive in the slightest).

This approach found a flawless match in the cast, which combined Pietro Spagnoli—lively and pugnacious as the old and well-off merchant Geronimo—with five up-and-comers who are currently perfecting their skills at the Accademia. While Sung-Hwan Damien Park (Count Robinson) and Mara Gaudenzi (Fidalma) shone as comedic performers, Greta Doveri (Carolina, whose secret marriage to Paolino gives the work its title) was the relatively classic leading lady: her lush and elegant phrasing—together with Domenico Cimarosa’s supremely inspiring melody-making—turned several passages into absolute showstoppers. (I’ll just cite the Duet «Io ti lascio perché uniti» and the Trio «Le faccio un inchino», both from Act I). Ottavio Dantone—on double duty as a conductor and a harpsichordist—and the orchestra (entirely composed of budding musicians from the Accademia) appeared to produce a discreet, remarkably constant musical backdrop. The general idea of harmony—I could almost say peacefulness—was the genuine protagonist. As for the final outcome, it was fairly reminiscent of some ordinary American sitcom. Or, if you prefer to leave television out of this: Il matrimonio segreto as a whole ended up feeling like a portrayal of life as a colorful, quirky at times, but ultimately innocuous adventure. (Innocuous is not my favorite word as far as opera is concerned. But I don’t even have a proper heart in the first place, therefore… Then again, if it’s good enough for the Emperor and his valuable guests—so be it I guess).

#opera #teatro alla scala #wealth

[arcimboldisworld]

L'Olimpiade - Oper Zürich 16.03.2022

L'Olimpiade - Oper Zürich 16.03.2022 #pergolesi #davidmarton #sonjaaufderklamm #oper #barock #ottaviodantone #dokumentarfilm #corona #pandemie #alter #rezension #musik #opera #kritik #operalover #operzürich #annabonitatibus

Der Pandemie zum Opfer gefallen, nun als interessante Mischung aus Filmdokument und live gesungenen Arien im Zürcher Opernhaus zu sehen und zu hören – die selten gespielte Barock-Oper “L’Olimpiade” von Giovanni Battista Pergolesi…. (more…)

View On WordPress

#Anna Bonitatibus #Barockmusik #Barockoper #Carlo Allemano #Corona #David Marton #Delphine Galou #Dokumentarfilm #Giovanni Battista Pergolesi #Joélle Harvey #Kritik #La Scintilla #Lauren Snouffer #Oper #Oper Zürich #Ottavio Dantone #Pandemie #Rezension #Sonja Aufderklamm #Thomas Erlank #Vivica Genaux

[elmartillosinmetre]

Últimas noticias desde Londres

Serse de Haendel en Rávena. / ALFREDO ANCESCHI

La Accademia Bizantina publica registro en vivo de Serse, una de las últimas óperas de Haendel

El 20 de noviembre de 1737, la reina Carolina fallecía en el Palacio de St. James a los 54 años de edad después de una penosa agonía, provocada por dolorosos e inútiles tratamientos quirúrgicos. El funeral tuvo lugar en la Abadía de Westminster el 17 de diciembre y para él, Haendel, que había tenido una relación muy estrecha con la soberana, quien había apoyado todos sus proyectos, escribió uno de sus anthems más conmovedores, The ways of Zion do mourn.

El compositor había sufrido un ictus en primavera del que se restableció con sorprendente rapidez, lo que había generado una corriente de simpatía hacia su persona. Ello, unido a las seis semanas de luto oficial, sirvió para serenar el ambiente habitualmente crispado de la vida musical londinense y permitió al músico preparar con cierta calma la vuelta de la actividad operística a Haymarket, el teatro que el propio Haendel había regido durante algunos años junto al empresario suizo Jakob Heidegger.

Pero la ópera italiana ya no atraía el interés de los londinenses como en los años 20, y aquella temporada sólo se ofrecieron treinta y nueve representaciones, lo que, aun teniendo en cuenta el cierre por el luto, era muy poco. Haendel había trabajado en diciembre en Faramondo, que dio por terminada la víspera de Navidad y se estrenó el 3 de enero, y en Serse, que estaba terminada en febrero y se estrenó el 15 de abril. Entre las dos sumaron sólo trece representaciones (8 y 5, respectivamente) y ninguna de las dos óperas volvió a verse en vida de Haendel. Heidegger buscó abonados para la temporada 1738/39 desde el mismo mes de mayo, pero a finales de julio, incapaz de hacer frente a las obligaciones fijadas con los cantantes, se dio por vencido, suspendió la temporada y cerró la compañía.

Aunque Haendel escribiría aún un par de óperas más, que se estrenarían en otro teatro, Serse supone una de las últimas muestras de vitalidad del género en la capital británica, y ello a pesar de que el mismo autor juzgó muy duramente una partitura escrita para un antiguo libreto veneciano escrito originalmente para Cavalli en 1655 y cuyas convenciones temáticas no gustaron al músico (“una mezcla de comedia trágica y bufonería”, las juzgó). Sin embargo, y pese al fracaso global de la producción, el inesperado arranque de la ópera, con Jerjes cantando a la sombra de un plátano la tierna “Ombra mai fu” fue un éxito inmediato y no ha dejado de serlo desde entonces. Por otro lado, Haendel buscó también novedades en la reducción de los recitativos y acortando la extensión de las arias, que eluden en muchas ocasiones la estereotipada forma da capo. Recuperada en 1924, la ópera ha sido rehabilitada en el último siglo, hasta el punto de que Winton Dean, el gran especialista en la ópera del compositor, afirmase que es una obra que “cobra vida palpitante en el teatro”.

Y la última grabación de la Accademia Bizantina de Ottavio Dantone, tomada en vivo en unas funciones que tuvieron lugar en Rávena a finales de mayo de 2019, viene a corroborar el juicio de Dean, pues se trata de una interpretación de una extraordinaria plasticidad, llena de claroscuros, pero sobre todo plena de fogosidad teatral, que la sitúa a la cabeza de las grabaciones discográficas ya existentes, entre las más destacables las de Nicholas McGegan (1998), William Christie (2004), Christian Curnyn (2013) y Maxim Emelyanychev (2017), esta última por primera vez con un contratenor (Franco Fagioli) en el rol protagonista, que fue escrito para el castrato Caffarelli. Con Dantone, Serse es en cambio la soprano Arianna Vendittelli, extraordinaria en el ágil canto de coloratura y aun más en las suaves curvas de las partes más expresivas, que comanda un elenco repleto de nombres de primer nivel en el actual universo barroco –Marina de Liso, Delphine Galou, Luigi De Donato, Monica Piccinini, Francesca Aspromonte, Biagio Pizzuti– que dan lustre, luz y nervio al Haendel otoñal.

[Diario de Sevilla. 22-08-2022]

SERSE EN SPOTIFY

#georg friedich haendel #jakob heidegger #accademia bizantina #ottavio dantone #arianna venditelli #marina de liso #delphine galou #luigi de donato #monica piccinini #francesca aspromonte #biagio pizzuti #hdb sonus #música #music #nicholas mcgegan #william christie #christian curnyn #maxim emelyanychev #franco fagioli #Youtube #Spotify

[gasparodasalo]

Antonio Vivaldi (1678-1741) - Concerto for Violin, Strings and Basso continuo in E-flat Major, RV 257, III. Presto. Performed by Alessandro Tampieri, violin, and Ottavio Dantone/Accademia Bizantina on period instruments.

#antonio vivaldi #baroque #classical music #violin #orchestra #period performance #period instruments #concerto #violin concerto #violinist #baroque music #strings #string orchestra #vivaldi

[lesser-known-composers]

Giuseppe Torelli ( 1658 - 1709 ) : Cantata a Voce Sola per Il Venerdi Santo

Accademia Bizantina, Ottavio Dantone

Delphine Galou (alto)

#Giuseppe Torelli #baroque music #cantata #Youtube

[classicalmusicdaily]

Anna Goryachova was born in Leningrad (Saint-Petersburg). In 2008 she graduated with distinction from the Vocals Faculty of the Rimsky-Korsakov St Petersburg State Conservatory (class of Tamara Novichenko and subsequently class of Galina Kiseleva). From 2009 to 2011 she trained under Renata Scotto and Anna Vandi at the Accademia Nazionale di Santa Cecilia (Rome) and also under Romualdo Savastano at the A.R.T. Musica academy (Rome). From 2008 to 2011 Anna was a soloist at the Mikhailovsky Theatre and the St Petersburg Chamber Opera. In 2010 she was nominated for Russia’s Golden Mask National Theatre Award for her performance of the role of Donna Elvira in the opera Don Giovanni staged by Yuri Alexandrov. In 2011 under the direction of Alberto Zedda she made her debut at the Vlaamse Opera (Flemish Opera) in Antwerp as the Marchesa Melibea (Il viaggio a Reims, Mariame Clément’s production). From 2012 to 2017 Anna was a soloist at the Opernhaus Z��rich, where she performed the roles of Adalgisa (Bob Wilson’s production of Norma), Rosina (Rossini’s Il barbiere di Siviglia), Polina (The Queen of Spades), Magdalena (Die Meistersinger von Nürnberg), Zerlina (Don Giovanni), Eustazio (Handel’s Rinaldo), Zelim (Vivaldi’s La verità in cimento), Masha (Eötvös’ Three Sisters), Marchesa Melibea and so many others. She has collaborated with such conductors as Teodor Currentzis, Nello Santi, Fabio Luisi, Alain Altinoglu, Enrique Mazzola, Riccardo Frizza, Ottavio Dantone, Stefano Montanari and Daniele Rustioni among others. Took part in the world premiere of Christian Jost’s opera Rote Laterne (2015). In 2012 Anna sang the role of Alcina (Orlando paladino) at the Théâtre du Châtelet in Paris and made her debut at the Rossini Festival in Pesaro (Italy) as Edoardo (Matilde di Shabran) staged by Mario Martone and conducted by Michele Mariotti. In 2020 at the Grand Théâtre de Genève she sang the roles of Angelina (La Cenerentola) and Sesto (La clemenza di Tito, staged by Milo Rau) in addition to making her debut at the Vienna State Opera in the role of Olga (Dmitri Tcherniakov’s production of Eugene Onegin); in Vienna she subsequently performed the roles of Angelina and Carmen. In 2022 as Angelina she made her debut at the Mariinsky Theatre (St.Petersburg). In the 2020–21 season Anna received Valencia’s “Best Mezzo-Soprano of the Season” award for the role of Angelina in La Cenerentola, staged by Laurent Pelly at the Palau de les Arts Reina Sofía. We all know that this has been a pretty tough time for the socio-political environment, which affected also the arts in a considerable way, and it was so beautiful to see you and your Ukrainian colleague hugging each other during the standing ovation. What do you think about this matter, about the way theaters, but also the society, took actions towards the Russian artists? Honestly, during these 3 months I have never found any change of attitude from my colleagues, nor from the theaters. The political conflict should not affect the cultural environment. Indeed, you all seemed such an united team on stage and behind it! Was it your first Carmen in the amazing production of Calixto Bieito, which such a passionate stage parter as Vittorio Grigòlo, for his debut at Don José? There was such an amazing energy coming from the stage towards us, in the audience! Thank you so much, I already sung in this production in Madrid in 2017. It’s a very intense staging. And I was very much touched to see the standing ovations in Wiener Staatsoper every evening. I never met Vittorio before and we really enjoyed playing and singing together. It was a perfect artistic match, I think! I adore Vittorio! He is not only an incredibly talented artist, but he is also a very nice person offstage. And his role debut was sensational! reposted from https://opera-charm.com/

[laertesstudies]

3 27.20 //

I hope everyone is doing okay today!! I'm feeling a little anxious waiting to hear back from the college about whether or not I was accepted. In the meantime, I'll just be here reading old poetry and daydreaming about dark libraries and long lost loves.

Listening to: Ottavio Dantone - Suit VII in G Minor HV 432: Passacaille (Handel)

#studyblr #study blog #study motivation #studywithme #dark academia

[verdiprati]

Looking ahead . . . in spite of it all

The last time I published an unofficial list of Dame Sarah Connolly’s upcoming performances, it was with hesitation, knowing that she had months of treatment for breast cancer ahead of her and that she might need to withdraw from some of her performance engagements. That was in late October, 2019. I had, at the time, no inkling that a then-unknown respiratory virus would begin infecting humans over the winter and rapidly break out into a deadly pandemic, resulting in the widespread closure of public spaces and devastating the performing arts.

The change log appended to my previous unofficial schedule post shows that on March 23, 2020, I made the first round of edits to reflect corona-cancellations. Since then, I have been quietly monitoring the status of Dame Sarah’s scheduled gigs and crossing them off as their cancellations have become known to me. 

I have also picked up on a few new dates that we can very tentatively look forward to. It is hard to say how long the coronavirus crisis will go on; even when large, indoor public gatherings become possible again, some arts organizations may have had to slash their offerings—or may have succumbed completely—due to the financial fallout of the pandemic. In the meantime, we are starting to see some companies like the Bayerische Staatsoper, Wigmore Hall, and the Royal Opera House offer small-scale, live musical performances with no live audiences, just online streaming. 

Now that Dame Sarah is about to perform in one such livestream-only concert—tomorrow’s Das Lied von der Erde in Covent Garden, also notable for being her first live performance since withdrawing from the stage for cancer treatment over the winter—it seems like the right moment to refresh my list of her upcoming performances and start anew. 

See my current list after the jump.

This is the point in the post where I normally give a condensed list highlighting the cities where Dame Sarah is scheduled to appear in live performance, so that readers can tell at a glance whether she is coming anywhere near them. This list must now be read with a giant asterisk, as some performances may be online-only (so it doesn’t matter where you live), and others may be much more prone to cancellation than normal! 

That said—British performance sites on the horizon at the moment are the Royal Opera House (for online viewing only) and Wigmore Hall in London, plus the Lieder Festival in Oxford (also online only). Audiences in continental Europe might get to see Dame Sarah in Barcelona, Berlin, Hamburg, Amsterdam, or Luxembourg. An as-yet-unconfirmed operatic run may be in store for the 2021-2022 season in New York.

The usual disclaimers:

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah’s new website, Dame Sarah’s agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time. This obviously goes triple in the COVID-19 era.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

[Livestream only] Mahler, Das Lied von der Erde at the Royal Opera House, London, June 20, 2020. With David Butt Philip and members of the ROH orchestra; Antonio Pappano conducts. The performance will be livestream-only; no audience will be seated in the house. Tickets are £4.99 and grant you not only live access, but also the ability to view the concert on demand for two weeks following the performance.

[New!] Recital at Wigmore Hall, London, September 16, 2020. With Malcolm Martineau, in the Wigmore’s 1:00 p.m. “lunchtime” slot. Songs by Poulenc, Roussel, Mahler, and Bridge, capped by a pair of songs newly written by Bob Chilcott for Dame Sarah. At the time of this writing, Wigmore Hall expects to admit live audiences of 10%-20% capacity during the autumn season under socially-distanced reopening guidelines, but the situation for live performance in the UK remains fluid, to put it mildly. The website says that “More details on how to access tickets will be released in the coming weeks. All concerts will go ahead, with or without an audience.”

[Livestream] The recital, like all the others in Wigmore Hall’s autumn 2020 season, will be streamed for free on their livestreaming site. It appears that you can also use this YouTube link.

[Canceled] Recital at Wigmore Hall, London, September 30, 2020. With Roderick Williams and Julius Drake; the first concert of the Wigmore’s Mendelssohn and Liszt series. Public booking is scheduled to open on July 14. UPDATE: As of July 31, this recital is no longer listed on the Wigmore Hall website. Update, August 22: see above for a newly-scheduled Wigmore recital by Dame Sarah.

[New! Livestream only] Handel, Solomon (title role) and Foundling Anthem with the English Concert, October 1, 2020. Also starring Sophie Bevan, Soraya Mafi, and James Way; conducted by Harry Bickett. Selections from both works will be performed as part of a concert titled “Handel – The Philanthropist.” Tickets to the livestream are free; donations are requested to both The English Concert and Bart’s Heritage, the fund for renovating St Bart’s Hospital, which will be the venue for the performance. 

[Livestream only] Recital at the Oxford Lieder Festival, October 10, 2020. With Eugene Asti (pianist) as well as “emerging artist” William Thomas (bass)—apparently part of Barbara Hannigan’s Momentum initiative, which is supported by both Dame Sarah and the Oxford Lieder Festival. Schumann’s Fraunliebe und -leben and Mahler’s Rückert-lieder bookend an assortment of songs by Haydn, Arne, Bush, Quilter, Howells, and Britten. The livestream ticket (£12, or £5 for under-35s) includes access to a post-performance Q&A session with the artists. Video will remain available until November 1. Notably, the £250 “Pioneer Pass” for the whole festival gets you bonus goodies including “Two guest tickets to Dame Sarah Connolly’s recital, to share with friends” and “Exclusive artist interviews and other content.” 

[New!] “Pappano & Friends” chamber concert at the Barbican, London, November 1, 2020. With Ian Bostridge, the Carducci Quartet, and Antonio Pappano. Tickets are being sold separately for a limited live audience (£20) and for a video livestream of the performance (£12.50). The listed program comprises just two works: Ralph Vaughn Williams’ song cycle On Wenlock Edge and an arrangement of Ernest Chausson’s Poème de l’amour et de la mer. I don’t really know either work, but a little googling suggests to me that Bostridge will sing the RVW and Dame Sarah will sing the Chausson. Tickets go on sale to the general public on September 11 at 10:00 a.m., and a few of the live audience tickets will be held back from the earlier Barbican members’ sale for the general sale, so if you want to try to attend in person, be ready to act swiftly at that time.

[Livestream] As mentioned above, there is a fee of £12.50 for access to the livestream. The Barbican website says, “We advise you to watch the performance live, but the stream will be available to watch back for 48 hours after the live broadcast.”

[New!] Mozart’s Requiem with the English National Opera, London, November 6 and 7, 2020. Fellow vocal soloists are Elizabeth Llewellyn, Toby Spence, and Brindley Sherratt. With the ENO Chorus and Orchestra conducted by Martyn Brabbins. As of this writing early on September 15, the ENO website says “Ticket details will be announced soon.” ENO plans to perform for a live, socially distanced audience; livestreaming has been mentioned only as a backup option in case government restrictions make it impossible to host a live audience in the Coliseum. 

[New!] Forum participation, International Vocal Competition, 's-Hertogenbosch, Netherlands, December 2, 2020. Having postponed its opera and oratorio competition until 2022 due to the COVID-19 pandemic, the IVC announced that it would sponsor a multi-day series billed as “IVC Mozart Masterclasses & More” late in 2020. Masterclasses will be led by Vesselina Kasarova, Roberta Alexander, and Thomas Oliemans; Dame Sarah doesn’t seem to have the same role, but the IVC promises that she will be among several “leading professionals” who will “talk with the participants about the future of their profession” as part of “a forum ... about the future as it now looks for (young) singers.” Singers who were born no earlier than December 5, 1987 and who can cough up €500 for the experience may register by October 1, 2020. Members of the public may buy tickets to the events beginning “at the end of August.”

Handel, Agrippina (title role) at the Dutch National Opera, Amsterdam, January 17-29, 2021. The production is Barrie Kosky’s (previously seen at the Bayerische Staatsoper and the ROH, and later moving on to the Staatsoper Hamburg). Ottavio Dantone conducts; co-stars include Ying Fang (Poppea), Franco Fagioli (Nerone), Gianlucca Buratto (Claudio), and Tim Mead (Ottone). As of this writing (June 19, 2020), single ticket sales are indefinitely suspended due to the coronavirus crisis.

Stravinsky, Oedipus Rex (Jocaste) at the Dutch National Opera, Amsterdam, March 10-27, 2021. In a double bill with the new commission From ‘Antigone’ by Samy Moussa. Other singers in the Oedipus cast include Sean Panikkar (Oedipus), Bastiaan Everink (Creon), Rafał Siwek (Tiresias), and Ramsey Nasr (Speaker). Erik Nielsen conducts; Wayne McGregor directs. As of this writing (June 19, 2020), single ticket sales are indefinitely suspended due to the coronavirus crisis.

Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester, Hamburg, April 10 and 11, 2021. Even though these concert performances follow on the heels of Dame Sarah’s engagement for the same opera in Amsterdam, the two gigs appear to be administratively and artistically unrelated. Her co-stars in Hamburg include Brenden Gunnell (Oedipus), Tomasz Konieczny (Creon), and Sir John Tomlinson (Tiresias); the MDR Rundfunkchor Leipzig supplies the men’s chorus. Alan Gilbert conducts. The program also includes Le sacre du printemps. Under a special policy instituted in response to the uncertainties of the coronavirus pandemic, tickets can be pre-ordered starting May 26, 2020, with payment due when it is confirmed that the performance will go forward, no later than six weeks before the concert. There’s some background information about the Stravinsky pieces on the NDR website.

Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester at the Philharmonie Luxembourg, April 19, 2021. Co-stars, conductor, and chorus are the same team as in the Hamburg performances, and the Luxembourg program likewise includes Le sacre du printemps. Tickets go on sale February 22, 2021.

[New!] Recital for St Luke’s Music Society, London, May 8, 2021. With Joseph Middleton. Repertoire TBA. Note that “during the COVID crisis tickets may be restricted to Friends only.” Tickets are £18 and Friends membership is £35; the tickets for Dame Sarah’s recital go on sale December 13. 

Recital at the Concertgebouw, Amsterdam, May 18, 2021. With Julius Drake. Songs by Mendelssohn, Liszt, Elgar, Debussy, Ravel, and Chaminade.

Elgar, The Dream of Gerontius with the Berliner Philharmoniker, Berlin, May 27, 28, and 29, 2021. With Allan Clayton and Roderick Williams, as well as the Rundfunkchor Berlin; Simon Rattle conducts.

[Livestream] The concert on the 29th will be livestreamed on the Berliner Philharmoniker’s Digital Concert Hall platform.

[Unconfirmed / details TBA] Tour with the Wiener Symphoniker, October 2-5, 2021. Dame Sarah’s name appears along with that of conductor and violinist Andrés Orozco-Estrada (who will take over as music director of the Wiener Symphoniker in the 2020-2021 season) in this list of orchestra tours on the website of agents Dr. Raab & Dr. Böhm. Details of the repertoire and cities for the tour will presumably be revealed when the Wiener Symphoniker announces its 2021-2022 season.

[New date!] Recital at Sant Pau Recinte Modernista [PDF], Barcelona, November 15, 2021. With Julius Drake. Part of the LIFE Victoria series of recitals; originally announced for November 27, 2019, but postponed due to Dame Sarah’s treatment for breast cancer; rescheduled for October 2020, and further postponed due to the coronavirus pandemic. Themed as a “Viennese journey by the hand of Alma Mahler,” the recital includes songs by Brahms, Wolf, Debussy, Alma Mahler, Gustav Mahler, and Zemlinsky. 

[Livestream? TBC] This article in the Catalan newspaper La República says of the combined 2020-2021 season that “Tots els concerts es retransmetran en streaming, independentment de si pot assistir-hi públic o no” (“All concerts will be streamed, regardless of whether the audience can attend or not”). I have been unable, however, to confirm this detail on the LIFE Victoria website or in the PDF of the combined season announcement. 

[Unconfirmed / details TBA] Brett Dean, Hamlet (Gertrude) at the Metropolitan Opera, New York, sometime in 2021-22. Allan Clayton, who starred in the title role of Brett Dean’s Hamlet at Glyndebourne in 2017, mentioned in an interview with the Telegraph that he would be reprising the role at an unspecified date and venue in the US. When prompted on Twitter, Dame Sarah indicated that she would be participating in the revival, too (“I shall be misunderstanding my confused boy again”). In a later interview with Opera News, Clayton reportedly specified that he would reprise Hamlet at the Met. The Future Met Wiki places the production at the Met in the 2021-2022 season (as does this New York Times article). Hat tip to Christopher Lowrey, who sang Guildenstern in the original production at Glyndebourne, whose tweet praising Allan Clayton brought the Telegraph interview to my attention. (No indication whether Lowrey will also be cast in the American revival.) Additional hat tip to the Tumblrer who submitted information on this topic via the ask box.

Previous versions of this list can be found under the schedule tag on this blog. This list published June 19, 2020. Updated June 22 to reflect the further postponement of the LIFE Victoria recital. Updated July 22 with the new date of the LIFE Victoria recital and the addition of the IVC forum. Edited July 28 to correct the closing date of DNO Agrippina to January 29 (not 27). Edited August 1 to reflect the cancelation of the September 30 recital at Wigmore Hall. Edited August 22 to add the September 16 recital at Wigmore Hall and update the Oxford recital with more details. Edited August 29 to add the English Concert livestream and fill in the repertoire for the September 16 Wiggy recital. Edited September 8 to add the Barbican “Pappano & Friends” concert. Edited September 15 to add the ENO Mozart Requiem and belatedly fill in some details on the Oxford Lieder Festival recital. Edited September 21 to add the recital for St Luke’s Music Society. I may continue to edit this list as I receive new information.

#sarah connolly #schedule #performances