Hallenberg y Genaux, Baroque Vivaldi and Haendel duel

Orquesta Barroca de Sevilla

Sevilla Baroque Orchestra with Ann Hallenberg divas and Viviva Genaux presented in Madrid a baroque duel between Vivaldi and Haendel.

The next Sunday 21 January at 19 hours, the cycle Universe Baroque Music National Broadcasting Center (CNDM) It presented in Symphony Hall of the National Auditorium Music of Madrid, a musical duel between Vivaldi and Haendel. The protagonists of this event will be the Orquesta Barroca de Sevilla, directed by Diego Fasolis and mezzosopranos Ann Hallenberg Y Vvivica Genaux, two great divas for a program that will be presented a day earlier at the Teatro de la Maestranza in Seville. Tickets Madrid, with an overall price of 15 € to 40 €, and discounts up 60% for those under 26 and unemployed (entries “Last minute”, with purchase from one hour before the concert hall box office) and are on sale at the box office of the National Auditorium and INAEM theaters, plus online sales enwww.entradasinaem.es and by phone at 902 22 49 49.

Divas and rivals
According to Paul vayon: “For the decade of 1720 the singers were the divas, the true owners of the scenes of half of Europe. Since eighty years, new entrepreneurs opera had tried to reduce production costs of the works by suppressing the choir and instrumental lowering effective and the number of solo roles, but at the same time they tried to enhance the dramatic effects of its bid to attract a wider audience and enhancing decorated sumptuous costumes, a scenic machinery constantly expanding and music essentially overturned the melody and virtuosity. Sopranos and castrati competed on stage, generating cohorts sometimes fanatical followers, they could get to grips loudly during the course of the functions. The most high-profile of these disputes took place in Haymarket in June 1727 when Cuzzoni and Bordoni shared stage in a performance of an opera by Bononcini (Dish Atte) who he had attended the Princess Carolina. The weather became so acrimonious rivalry between their respective followers who finished moving to the scene, where the two divas physically clashed. The new bel canto style not only great athletes exalted voice, but a compositional level generated a real arms race (in terms of evolutionary biology): As the singers were trying to dazzle fans with higher doses of ornamental virtuosity, composers competed with each other by offering pages of increasingly delusional difficulty with the only desire to maintain their status and career possibilities. The game was brought to an end by the Neapolitan school, whose lush and dramatic style had already become the years 30 eighteenth century in the same fashion in Venice. Vivaldi had no choice but to adapt to these new forms. If until mid- 20 its opera arias include rich orchestral textures and appreciable treatment contrapuntístico, as the taste changed composer adapted the new Neapolitan conventions, putting the essential focus on the melody intended to voices, often simply folded by violins. This trend of operatic art of Vivaldi, which also included the resource (obliged) the castrati, who in his early works to the genre did not give great prominence, He has been remarkably highlight the instrumental nature of his vocal music, turned into a real challenge for many interpreters. Instead, in Haendel, although subject to similar pressures of public and singers, the belcantismo never overcame the barrier of good taste, the lyricism more refined. Virtuosity is of course present in his work, but in the vocal treatment of Haendel an almost reverential respect for the possibilities of the human instrument, given its flexibility, but also its limits.”

The Orquesta Barroca de Sevilla unquestioningly it is located on the first level of the Spanish groups engaged in the interpretation of early music with historical criteria. Created in 1995 by Barry Sargent and Ventura Rico, since 2001, its artistic director is Pedro Gandía Martin. Among the international figures who have made their forehead, some mythical stature, destacan Gustav Leonhardt, Christophe Coin, Sigiswald Kuijken, Jordi Savall, Christophe Rousset, Rinaldo Alessandrini, Monica Huggett, Harry Christophers, Andreas Spering, Diego Fasolis, Juanjo Mena, Eduardo López Banzo, Pablo Valetti and Enrico Onofri. In addition to the intense activity carried out in Seville and the rest of Andalusia, It is presented in the most important Spanish and European scenarios (Germany, France, Italy, Switzerland…). After recording for labels Harmonia Mundi, Lindoro y Almaviva, the Baroque Orchestra of Seville has created his own: OBS-Prometeo. He has received awards such as the “Editor´s Choice” Gramophone magazine, “Exceptional” de Scherzo, “rhythm Parade”, “recommendable” Compact and Audio Cd Classical & “5 Goldberg stars”. The latest albums of this label are: Music Seville Cathedral, under the direction of Enrico Onofri, Y Where unfaithful dragon, with Vanni Moretto and Maria Hinojosa. They have recently made the first complete recording on DVD of the concerts for cello and orchestra C. Ph. E. Bach, con Christophe Coin. In the year 2011 he was awarded the National Music Prize, awarded by the Ministry of Education, Culture and Sports of Spain. Likewise, They have obtained “Manuel de Falla Award 2010”, he “FestClásica Award 2011” and an honorary distinction of the City of Sevilla.

Swedish mezzosoprano Ann Hallenberg It is assiduous in the stage of Teatro alla Scala in Milan, eatro La Fenice in Venice, Teatro Real in Madrid, Theater an der Wien Viena, Opera de Zúrich, Opera National de París, Lyon Opera, La Monnaie de Bruselass, Netherlands Opera in Amsterdam, Bavarian State Opera de Múnich, The Staatsoper Berlín, Semperoper Dresden, Royal Swedish Opera, Salzburg Festival, Verbier Festival and Edinburgh Festival. Her operatic repertoire includes a large number of papers Rossini, Mozart, happiness, Massenet, Haendel, Vivaldi and Monteverdi. Concert is equally comfortable, with recitals throughout Europe and North America. His repertoire includes music from the seventeenth century (Monteverdi y Horses), through Mozart, Haydn, Beethoven, Berlioz, Brahms, Mahler Chausson, to the contemporary repertoire of Franz Waxman and Daniel Börtz. Hallenberg regularly works with conductors such as Fabio Biondi, William Christie, Sir John Eliot Gardiner, Emmanuelle Haïm, Philippe Herreweghe, Marc Minkowski, Riccardo Muti, Kent Nagano, Sir Roger Norrington, Sir Antonio Pappano, Christophe Rousset y Alberto Zedda. He has recorded more than 40 CDs and DVDs with music by Bach, Haendel, Vivaldi, Mozart, Haydn, happiness, Rossini, Mendelssohn, Brahms y Bruckner, among others. her album Agrippina He won the award “Best Operatic Recital” International Opera Awards in London in 2016, second prize in that category, after his victory in 2014.

With a career spanning two decades, American mezzo-soprano Vivica Genaux dazzles the audience and critics with his charisma, commitment and amazing vocal technique. Since your beginnings, Rossini various roles have taken her to opera houses and concert halls around the world. In parallel with its bel canto credentials, Vivica has been praised for his interpretations of music by Georg Friedrich Haendel, Antonio Vivaldi and his contemporaries, highlighting its version of Pyramus in Pyramus and Thisbe Johann Adolf Hasse, and Eternità and Diana in La Calisto by Francesco Cavalli. In the concert format, one of the highlights of the season 2016/2017 It was his debut with a program of music composed for the mythological character Orpheus by composers such as Gluck, Haendel, Hasse, Purple, Ristori and Wagenseil, continuing the tradition of Rival Queens, a rush scanning Vivica with soprano Simone Kermes aria and duos for divas eighteenth century Faustina Bordoni and Francesca Cuzzoni. Winner of several awards including the “1997 ARIA Award”, he “New York City Opera’s 2007 Christopher Keene Award” and the “Pittsburgh Opera’s 2008 Maecenas Award”, Vivica enjoys sharing his experiences with new generations of singers through lectures and courses. His extensive discography includes his entire career to date, and continues to explore programs and operatic roles, which to date includes more than sixty.