For those who do not yet know they like opera, and for those who know…
The young Polish countertenor Jakub Józef Orliński in the last five years it has become one of the great sensations of international baroque scenes. Al National Auditorium will arrive this time with a group also Polish, founded in Krakow eight years ago, to pose a bloodless battle between vocal and instrumental repertoires involving two of the composition heroes of the first half of the 18th century , Haendel Y Vivaldi. The duel will be played between opera arias (the majority, German) and Venetian violin concertos.
Sunday 17 January at 19:00 hours, Symphony hall.
Heroes. Battle between the instrument and the voice
Antonio Vivaldi (1678-1741)
Symphony-Allegro by L'Olympics, RV 725 (1733)
Allegro del Violin Concerto in E minor, RV 273
'I feel inside', from Giustino, RV 717 (1724)
Length of Violin Concerto in E minor, RV 273
Allegro del Violin Concerto in D minor‘Per Pisendel’, RV 242 (1725) Violin Concerto in D major ‘Il grosso mogul’, RV 208
Andante (Weather in Ciaccona) of the Violin Concerto in D major, RV 222 George Frideric Haendel (1685-1759)
'In spite of an ungrateful face', from Tamerlano, Gorge 18 (1724)
'We are close to the port', from Rinaldo, Gorge 7 (1711)
'Furious the wind blows', from Partenope, Gorge 27 (1730)
From Tomoleo, king of Egypt, Gorge 25 (1728)
‘Come back alone for a moment’
'Shaken by fierce storms', from Riccardo I, king of England, Gorge 23 (1727)
Photograph: Jiyang Chen
The next Sunday 14 of April, National Dissemination Center Musical (CNDM) receives in its cycle UNIVERSE BAROQUE, scheduled in the Symphony Hall of the National Music Auditorium in Madrid, a Harry Christophers in front of a whole The Sixteen. This time present, at the gates of Holy Week, one of the most valued oratorios by Handel, Israel in Egypt, premiered in Haymarket 1739 and highlighted by the considerable weight of its wonderful choral numbers.
The Sixteen choir and orchestra of period instruments are now among the best teams in the world, interpreters sublime Renaissance music, Baroque and modern coral, backed by critics worldwide for their precise interpretations, full of power and passion. The Sixteen thanks to training as a cathedral choir and choirmaster of its founder and director Harry Christophers was formed. Her project, launched in 1979, It was based on the best of British choral tradition and set new standards of virtuosity and musicality. His professional female and male voices create a distinctive sound of great warmth and clarity. Although it has been refined over four decades, that sound has remained remarkably consistent, always responding to the emotional content of the words and music and alert to the subtle nuances of color and tonality. His orchestra of period instruments has been instrumental in the continuing series of oratorios by Handel, They are presenting worldwide.
Tickets for this concert are already on sale at the box office of the National Music Auditorium, in the web www.entradasinaem.es and on the phone 902 22 49 49, with prices ranging from 15 € to 40 €. From one hour before the concert can be purchased at the Auditorium box office entries last minute on a discount 60% for children 30 and unemployed (locations from 6 euros).
Since in 1719 He was named Artistic Director of the Royal Academy of Music, the main dedication of Haendel as composer in London was writing Italian operas, although in the years 30 also he began to compose English oratorios, activity was priority from 1740. According says Paul J. vayon: “Haendel had the first contact with the genre of oratorio in Hamburg, where he met his friends works Mattheson, Keizer and Telemann presented in the temples in close doctrinal relationship with the Sunday sermons. He went to Italy, to write two plays in the exuberant style cuasioperístico He cultivated in Rome in the first decade of the century. The haendelianos oratorios of London 1730 They had more to do with the Germans than Italians. Although they were destined to theaters, and not to the churches, They were written in English and choirs granted a much more dominant role than in Italy. Israel in Egypt is, essentially, a choral oratorio in which the strength of the vocals and the almost complete absence of solo arias perhaps point towards a collective ideal, national. With twenty choral numbers, of which eighteen are written for eight voices, a resource to polychorality is not equal in all the rest of the catalog of the composer and that at times seems to roll back the music of Gabrieli Venetian splendor, the arias and duets are, actually, irrelevant from the point of view as dramatic Haendel uses them as mortar to bind and fuse the great scenes.”
He Sunday 22 of April to 18 hours, Universe cycle Baroque Music National Broadcasting Center (CNDM) presented in the Symphony Hall of the National Music Auditorium in Madrid the last meeting of this cycle in the current season: the opera Radamisto Haendel. Set Vienna Academy the restless Martin Haselböck, with a cast of big stars of the current baroque universe (Carlos Mena, Patricia Bardon, Florian Boesch, Sophie Karthäuser…) They will be responsible for interpreting it in concert version.
Radamisto: Haendel pure state
Eduardo Torrico as comments: “Radamisto not one more title in the unsurpassed operatic production of Georg Friedrich Haendel. It was his first title for the Royal Academy of Music, Founded in February 1719 by a group of London noble to secure a regular supply of Italian operas serious. Saxon would be elected director and one of the three main composers who had to provide music to the company (the other two were Giovanni Bononcini and Attilio Ariosti). Haendel's duties were those of adapting foreign operas and provide -mainly from Italy- librettos for private consumption, as well as select musicians. Haendel also corresponded to select the instrumentalists for a large orchestra: seventeen violins, the violas, of violonchelos, two double basses, four oboes, three bassoons, one archilaúd, a trumpet and two keys (one of them, Haendel himself). Handel had composed for such a great occasion an opera was entitled Radamisto, Jorge chores but I was not allowed to attend the premiere, set for 2 April 1720, so finally he represented 27 that month at the King's Theater in Haymarket. Caló both the title in the audience in London that Handel opera replied in the same theater just eight months later, he 28 from December, a second which differed significantly version of the first: Much of the music was revised and reassigned to other characters, in order to adapt the papers to the voices of the singers who had not taken part in the premiere, as the castrated Senesino that collected the main roll”.
NATIONAL AUDITORIUM | Symphony Hall
Sunday, 22 of April | 18:00 h.
VIENNA ACADEMY Martin HASELBÖCK, director
G. F. HAENDEL: Radamisto serious opera in three acts with libretto by Nicola Francesco Haym
He Sunday 25 March at 19 hours, the cycle Universe Baroque Music National Broadcasting Center (CNDM) It presented in Symphony Hall of the National Auditorium Music of Madrid the two most exuberant and festive works of Haendel: water music Y Music for the Royal Fireworks, Mythical hand set The King´s Consort, directed by Robert King. The suites water music They were prepared by the composer from the writing for a cruise down the Thames from King George I in July 1717. The Music for the Royal Fireworks was born joined to another royal ceremony, the celebration in 1749 La Paz of Aix-la-Chapelle. These two key pieces of Baroque Suite last tragedies will join music of Rameau, the Boréades, work that is not represented in the author's life and left after the first trial.
tickets, 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 www.entradasinaem.es and by phone at 902 22 49 49.
The exuberant music for kings
According to account Pablo vayon: “They have been several testimonies of the spectacular party on the Thames that King George I of England held 17 July 1717 and for which Haendel, installed in London five years before, He wrote a series of pieces that eventually would be grouped under the generic title Water Music. No autograph manuscript has survived and editions that were published throughout the eighteenth century did not match either the number or specific parts that could be interpreted, so Robert King has used two key transcriptions published in the early decade of 1720, one due to John Christopher Smith, would become faithful secretary and copyist Haendel, to get as close as possible to the original provision. The character of the Music for the Royal Fireworks It is also festive course. Handel composed for the celebrations by the Treaty of Aix-la-Chapelle that ended the War of the Austrian Succession in October 1748, although the party, which it was held in Green Park, It took place in April next year. The autograph score shows that the first interpretation of this music, which also fits the model of the suite of dances to French, I had to be a superb sound event, because the orchestration includes nine trumpets, nine tubes, twenty four oboes, sweet bassoons (including a contrabassoon) and three pairs of timpani, and an unspecified number of drums. The strings must be added for further interpretation, cover, en el Foundling Hospital. In both cases we talk about music of great brilliance, Haendel in which melted the principles of the Italian and French traditions.”
Considered one of the most important groups of period instruments World, the orchestra The King’s Consort y el Coro de The King’s Consort, They were founded in 1980 by Robert King and they have toured five continents, being their presence is common in almost all European countries, Japan, Hong Kong and the Far East, and North and South America. For more than three decades, The King's Consort has presented a wide range in their repertoire, since 1550 to the present day, in major music halls. Notably seven appearances at the BBC Proms, representations of the spectacular King George II Coronation, Venetian replacement I Sposalizio, the Mass in B minor and the St. Matthew Passion Bach, Elijah Mendelssohn (played throughout Europe), representations The Fairy Queen Purcell in Spain and Britain, the opening concert of the year celebrations Purcell on TV and BBC Requiem Mozart at the Alhambra in Granada. Other operas carried scenarios have been Handel Ottone in Japan and Britain, Exio Haendel at the Theater of the Champs Elysees in Paris and Purcell The Indian Queen in the historic theater in Schwetzingen in Germany. Other tours have included concerts and operas in Japan, Hong Kong and the Philippines, Mexico, Brazil and Argentina and across the United States and Canada. Of her recent performances include Dido & Aeneas Y King Arthur Purcell in Barcelona, Madrid and Vienna, Coronation of King George throughout Europe, the Mass in B minor in Lucerne, The Messiah Haendel at Versailles, Annecy, La Chaise-Dieu and Marseille, the Illuminatios Britten at the Wigmore Hall and in France, Mendelssohn en la Gewandhaus de Leipzig, and tours of France, Hungary, Malta, Romania, Switzerland and Spain. The season 2016/17 It included an extensive tour The Messiah Haendel, Vespers Monteverdi and I Sposalizio in the Rheingau Festival, Juditha Triumphants en Viena, Amsterdam and Versailles and a tour of six concerts in Spain with music by Purcell and Shakespeare's time, as well as concerts in Belgium France, Germany and the Netherlands.
Recordings of The King's Consort have been widely praised, They have received many international awards and sold over a million and a half copies. The orchestra now records for VIVAT brand and specializes in the music of Handel and Purcell; but its extensive catalog includes instrumental and choral music of composers from Albinoni to Zelenka, including the Mass in B minor of Bach, Petite Messe Solennelle by Rossini, Twenty-five previously unreleased recordings of the complete Purcell Odes of his songs and his sacred music; This has made The King's Consort in the world's leading orchestra in playing this author. TKC is also renowned for his recordings of more than a dozen Handel oratorios and operas. Other projects include the recording of sacred music of Monteverdi, ten volumes of the complete sacred music of Vivaldi, A recording of the Coronation of King George, Ode for St. Cecilia of Handel, Michael Haydn's Requiem (winner of the "Best Choral Recording" BBC Music Magazine) and the sacred music of Mozart soprano Carolyn Sampson with. Edited with a hundred CDs and more than one and half million sold, The King's Consort is one of the world's orchestras historical instruments recorded. TKC Choir has participated in the music of Hollywood films like The Kingdom of Heaven de Ridley Scott, the Chronicles of Narnia, Pirates of the Caribbean, Ratónpolis Y The Da Vinci Code.
He Sunday 11 March at 18 hours, the cycle Universe Baroque Music National Broadcasting Center (CNDM) It presented in Symphony Hall of the National Auditorium Music Opera Madrid Rinaldo Georg Frideric Haendel, work containing several true hits Baroque opera, as the very famous Aryan Let me cry O Dear bride, face lover. Released in February 1.711 the Queen's Theater in London, This is the first English title Haendel and one of its most prized works today. The mythical set The English Concert directed by Harry Bicket he will perform, concert version, with British countertenor Iestyn Davies in the title role, wrapped by a cast of absolute specialists in this genre. According to The Guardian: "Under the expert direction Bicket, The Inglés Concert performed an exquisite interpretation and revive this convoluted score full of wit and charm. "Tickets for 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 www.entradasinaem.es and by phone at 902 22 49 49.
According to Arturo Reverter: “There is no doubt that Rinaldo It is one of the most famous operas of Haendel…a real salvo at the time, shortly after the composer landed in London after his first dabbling in Germany and his stay in Italy. His taste for bel canto, not the ornaments and pure virtuosity, but the full sentence that carries auditor singer and breathe at the same time, shows the way. In this as in other operas, in its perennial quest of the most impressive vocal effects, Haendel raised great demands on the soloists. He was called to the main resources of a belcantismo beginning to acquire its season and then coming from the hand of the leaders of the singing schools, which they established the sacrosanct golden rules that would govern and enhance the art, you raising it to heights never reached inaccessible after. All this mandatory voice, that it would develop and refine over time, It was applied and, naturally, to operas of the first second, or, if you will-period Haendel. Rinaldo It would be a great test. All sources agree that music was ready in about two weeks, revealing the ease of the composer and his ability to use music from previous scores, something that had already practiced in Agrippina. For example, Aryan Let me cry It comes from an instrumental sarabanda of Almira, already included, with another letter (Leave the plug), in his opera The Triumph of Time and Disillusion.”
Recognized as one of the best chamber orchestras in the world for its exquisite performances of baroque and classical music, The English Concert treasures from 1973 extensive experience guided in the beginning by its founder Trevor Pinnock, his successor Andrew Manze, and the current artistic director Harry Bicket. His extensive discography award-winning recordings include more than one hundred masterpieces from Bach to Purcell and Handel to Mozart, as well as some of the most important contemporary artists. Collaborations with renowned guest conductors, including clavecinistas Laurence Cummings, Christian Curnyn and fortepiano interpreter Kristian Bezuidenhout.
Within his philosophy is the pursuit of innovation in their collaborations, both musical theater and opera; ranging from the Buxton Festival, Shakespeare's Globe and the Sam Wanamaker Playhouse, to even out fearlessly outside the traditional halls to reach new audiences. The orchestra is also deeply influenced by the literature, celebrating two seasons ago 400 Anniversary of the deaths of William Shakespeare and Miguel de Cervantes: the adventures of Don Quixote through the music of Purcell and Telemann, or musical performances Bard A Midsummer Night’s Dream Y Giulio Cesare in Egitto He is embarking on a tour of Asia. Today made a world tour with a series of operas in concert, production Carnegie Hall in New York, Haendel (Radamisto -Daniels, Pisaroni, Rae-, Theodora -Röschmann, Connolly, Argument-, Alcina -DiDonato, Coote, Rice-, Hercules -Rose, Coote, Watts- Y Orlando -Davies, Sampson, Cooke-), Continuing the success of previous seasons.
He is known internationally as an opera and orchestra, Harry Bicket It noted for its interpretation of Baroque music and classical. In the year 2007 He became the artistic director of The Inglés Concert, one of the best orchestras in the UK and 2013 He was named director of the Santa Fe Opera, opening the season 2014 with a Fidelio acclaimed by critics and audiences. Born in Liverpool, He studied at the Royal College of Music and the University of Oxford, In addition to being an accomplished harpsichordist. Among the most outstanding productions in the United States and Canada are The Marriage of Figaro Y Rusalka, con la Houston Grand Opera; Mohammed Y Hercules with the Canadian Opera Company and Rodelinda, La clemenza di Tito Y Giulio Cesare in Egitto with theMetropolitan Opera has visited in Europe, among others, the Liceo de Barcelona (Agrippina, Lucio Silla), Opera of Bordeaux (Alcina) y el Theater an der Wien (Iphigenia in Tauris) with the Oslo Philharmonic, in addition to his appearances at the BBC Proms (Samson, Mass in B minor, Being Both with Alice Coote). In the year 2001 its first production in Barcelona, Julius Caesar, earned him the “Critics Award for Best Director of Opera”. In 2003 their version of Orlando Handel at the Royal Opera House Covent Garden received an Olivier Award nomination for 'Best New Opera Production'. His recordings today with The Inglés Concert include releases for labels such as Virgin Classics, Chandos and Harmonia Mundi.
Franco Fagioli, one of the most privileged voices of our time, presents his personal selection of arias from Handel, a composer closely linked to the milestones of his career. Its sensual, velvety voice knows no bounds and his virtuosic coloratura and emotional intensity provide a unique approach to this repertoire, through which explores Fagioli wide range of emotions and musical affections typical hendelianos.
The album marks the Fagioli reunion with dynamic orchestraTomato, with which the singer is on tour presenting the album in the best European theaters.
"Handel Arias" is a ambitious international project with great Spanish participation in production.
Factor "Chicken meat" The performances of Handel Franco Fagioli lead us to a sensual journey of discovery
It is expected that the most recent recital recorded by the countertenor Franco Fagioli for Deutsche Grammophon, Handel Arias, is published internationally on 12 of January of 2018. Engraved with the original handle specialized instruments gold group Il d', The disc includes a personal selection of favorite arias twelve Fagioli rich and colorful world of Handel operatic, including fragments Serse, Rinaldo Y Ariodante. E Fagioli Il pomo d'oro perform this repertoire on tour in various halls and theaters in France, Germany, Belgium and Spain in January and March 2018.
The Argentine countertenor Franco Fagioli is a true stage animal, taking advantage of his tremendous ability to express emotion, and their vocal virtuosity, so that the characters he plays to life. It is in its liquid element in colorful baroque operas by Handel, which allow you to deploy the most of all aspects of his monumental talent.
For his new album, Handel Arias, whose international launch is scheduled 12 of January of 2018, Fagioli has delved into the riches of the composer's works to bring together twelve of his favorite arias. These are pieces that reflect many of the defining moments of his career, Explain: music that causes "chicken meat factor" the. "When I was recording, It was as if you were making snapshots of moments I wanted to capture forever ", dice. "When choosing arias, my only criterion was this: What excited me most parts when singing?"The result is a dazzling array-and very staff-, which reveals the profound veneration he feels Fagioli for this great baroque composer. "Handel's operas are an inescapable music for any countertenor", points. "His inimitable style captivated both singers and public. It was arguably the star of Broadway Baroque ".
Besides such famous pieces as "Ombra mai fu" from Serse an area he bravery "Turbine Venti" of Rinaldo, Fagioli has also chosen miniature jewelry, as radiant and ethereal "Ch'io split?" from Partenope, or "After Night" de Ariodante, who delights in golden light. Apart from the popularity of arias, he has come to their own personal interpretations, all they imbued with his deep understanding of Haendel and time, and an awareness of their own forces to reinforce their inspiration. Fagioli was determined that the recordings transmit the emotional development of the various characters, even without the context of the complete opera, and succeeds in such an extraordinary way that even the most famous arias hear with ears renovated and are sensitive to all "affetti virtuosi" music.
Franco Fagioli has found the perfect partners for this foray into the sound worlds of Haendel musicians Italian baroque ensemble Il pomo d'oro. Since it was formed in 2012, the orchestra has been exploring the subtleties of historical performance practice, and his recordings with Fagioli their instrumentalists make shine all the nuances of scores, showing in all its glory, from beginning to end, the extraordinary and weightless beauty of her voice, with its three-octave tessitura. Fagioli's enthusiasm for the music of Haendel is so contagious that extends the listener immediately. Baroque splendors emanate from your recordings, distinguishing it as one of the most exciting performers of our time.
(Translation: Luis Gago)
He Sunday 23 of April to 19.30 hours, the cycle Baroque universe National Broadcasting Music Center (CNDM) presents his penultimate appointment in the Symphony hall of the National Music Auditorium of Madrid with “Cantata” countertenor recital Bejun Mehta accompanied by the reputed Academy for Ancient Music Berlin. Mehta returns to the baroque season of the CNDM after his splendid Orfeo from Gluck three seasons ago and following his recent success as Bertarido in the opera Rodelinda from Haendel programmed in the Teatro Real in Madrid. Mehta, one of the most refined counters on his string, presents a program that will bring us closer to the peak of the castrati, recreating a multifaceted universe containing arias from Handel's English oratorios along with sacred and profane cantatas from Bach Y Vivaldi. A journey that will transport us to the musical heart of the 18th century.
Considered one of the most reputable current countertenors, Bejun Mehta He is a regular guest of the main international opera and concert halls. The American is, during this season, Resident Artist at the Dresden Philharmonic, where he is demonstrating his artistic versatility with four different shows as a singer and director, in which he presents arias from the great operas and oratorios of Haendel Y Mozart in addition to the work Dream of the Song from George Benjamin, cantata written for him and already premiered in France and the United States. In the operatic scene he has just achieved great success at the Teatro Real in Madrid as Bertarido in Rodelinda Haendel.
Other productions have led him to play Farnace in Mitridate by Mozart in the Royal Opera House in London, the title role of Haendel's Tamerlano in Milan's Teatro alla Scala and Oberon in A Midsummernight’s Dream from Britten. His highlights from recent seasons include the world premiere of Stilles Meer by Toshio Hosokawa for the Hamburg Staatsoper (Stephan's role), that will be performed again in the season 17/18, and a new production of Orfeo ed Euridice by Gluck under the direction of Daniel Barenboim at the Berlin Staatsoper. In addition to her work as a singer, Mehta is boosting his role as a director with a couple of commitments per season, case of his work with the Dresden Philharmonic, and is offering master classes in Singing, such as those given within the Young Singers Project of the Salzburg Festival. Mehta has a wide catalog of records, among which are What Puro Ciel, a collection of classical arias with the Akademie für Alte Musik Berlin and René Jacobs, published in the fall of 2014 by Harmonia Mundi and winner of Le Diamant d'Opera Magazine and Choc de Classica and George Benjamin's Dream of the Song live album with the Amsterdam Concertgebouw Orchestra and George Benjamin conducting, published in 2016 within the RCO Live series, Horizon7 of said orchestra.
PROGRAM: George Frideric Haendel (1685-1759) You are dewy roses (1711/12) Cantata My heart throbs (ca.1709) Antonio Vivaldi (1678-1741) Concerto for strings in D minor ‘Madrigalesco’ (that. 1720) Johann Sebastian Bach (1685-1750) Cantata I have enough (1727) Johann Christoph Bach (1642-1703) Cantata (lament) Oh that I had enough water to cry A. Vivaldi Cantata Plants, sighs and ask for mercy Antonio Caldara (1670-1736) From The Passion of Jesus Christ our Lord Symphony for Strings and Continuous No. 12 in the minor (1730) Melchior Hoffmann (1679-1715) Hit it, desired hour (attributed to J.S. Bach) G.F. Haendel I will magnify Thee (1717/18)
It has been presented in the Royal Academy of Fine Arts of San Fernando de Madrid the 56 edition of the Religious Music Week in Cuenca. It is the first of the new artistic director Christopher Soler who shelled the program of this edition, with the rest of the attendees Angel Marshal, Mayor of Cuenca and President of the Board of Religious Music Week in Cuenca, angel Felpeto, Minister of Education, Culture and Sports of the Regional Government of Castile-La Mancha. Vice President of the Board of Trustees of the Cuenca Religious Music Week, Benjamin Prieto, President of the Exma. Cuenca Provincial Council. Vice President of the Board of Trustees of the Cuenca Religious Music Week, Manuel Ventero, Director of Communication and Institutional Relations of Radio Televisión Española, José María Sánchez-Verdú, composer, Y Jose Luis Garcia del Busto, Secretary General of the Royal Academy of the Royal Academy of Fine Arts of San Fernando and musicologist, who presented the act.
The news of this 56 Cuenca Religious Music Week are very numerous:
The New Academy of Musical Perfection was presented for the disciplines of orchestral practice, choral and vowel, which will be attended by more than a hundred people from all over the country, with the collaboration of prestigious national and international teachers.
Premiere of the work commissioned for this edition of the RELIGIOUS MUSIC WEEK OF CUENCA to Francisco Coll, How many, with the Casals Quartet; Coll will be the resident composer for this edition and will collaborate with the Academy.
Premiere in Spain of the chamber opera by José María Sánchez Verdú, The garden of life (about life
spiritual architect Antonio Gaudí), with Arturo Tamayo, Alberto Jona, the Lugano Festival 900 Here I'm, the Teatro dell’Ombre and the Escolanía Ciudad de Cuenca.
New recoveries of scores that are preserved in the Archives of the Cathedral of Cuenca, que serán interpretadas por Geoffrey Webber y el Caius College Choir, así como la interpretación de La Pasión según San Mateo, del compositor toledano Alonso Lobo, at 400 anniversary of his death.
Nuevos premios honoríficos «a la defensa y divulgación de la música religiosa» en las modalidades de individual, premiado que se anunciará en la presentación, y de agrupación para la Orquesta Sinfónica y Coro de Radio Televisión de España.
Nueva colaboración con la Universidad de Castilla-La Mancha en la realización de tres encuentros musicales: La música religiosa en el Lied: Franz Schubert, La música religiosa en la música de cámara: Franz Joseph Haydn y La música religiosa en el siglo XX: Olivier Messiaen.
New cultural activity linking the city's baroque architectural ensemble with the RELIGIOUS MUSIC WEEK OF CUENCA, called After the passage of Martín de Aldehuela "Baroque Route", which will take place in three different tours dedicated respectively to Georg Friedrich Haendel, the Italian Baroque and Johann Sebastian Bach.
These two new activities, collaboration with the University and Ruta Barroca, they pretend to be two lines of action
in which the public will have access through free admission, with the intention of creating a closer Cuenca SMR, Useful, pedagogical and open to society.
The Orchestra and Choir of Radio Televisión Española, honorary award of this edition, resident of
this edition of the RELIGIOUS MUSIC WEEK OF CUENCA.
Participation of the stage director José Carlos Plaza in the RELIGIOUS MUSIC WEEK OF CUENCA, in order to create scenic-musical spaces in the places where the concerts will be held.
New initiative of a social nature (SMR Social), that will bring music to public centers such as hospitals and homes for the elderly.
During Holy Week the SMR Choir and Orchestra will participate in a tour with Franz Schuber's cantata, Lazarus, or: the celebration of the resurrection, D.689; This activity will take place in different cities of the Community of Castilla-La Mancha.
Fabio Biondi closes the programming of 2016 in Arts with “Israel in Egypt”, from Händel, Thursday 22 from December, to 20.00 h in the Auditorium. The conductor of the Orchestra of Valencia enters the repertoire of one of his favorite authors, already successfully he introduced in his first season at the head of the OCV with the "chair" opera.
He Cor de la Generalitat, directed Francesc Perales, sings one of the most demanding choral scores in the repertoire together with the singers of the Center Placido Domingo Jorge Álvarez, Michael Borth, Karen Gardeazabal and Marianna Mappa, besides Cristina Alunno Y Valentino Buzza, from previous promotions of this project.
"Israel in Egypt" is a biblical oratorio, with Old Testament texts, mainly from the Exodus and the Book of Psalms, that premiered on 4 of April from 1739at the King’s Theater in London’s Haymarket. Handel's work narrates the slavery of the people of Israel under the yoke of Pharaoh and their subsequent liberation guided by Moses. Contrary to the previous compositions of the German, "Israel in Egypt" contains more choral movements than for soloists.
After this oratory, Maestro Biondi puts the baroque repertoire aside to make a foray into classicism in Les Arts with "Philemon und Baucis", Haydn. This opera composed to be represented by puppets opens next 8 in January Martín y Soler Theatre with the puppet company Carlo Colla and Sons and the voices of the artists of the Center Plácido Domingo.
A powerful exercise of vindication
As indicated Anselmo Alonso, of the Dramaturgy department of Les Arts, the genesis of the score is infected by the decisive moment that Great Britain was going through, in which not a few identified the slavery of the Jews under the Egyptians, with the submission of the British people to the Hannovers, the ruling Germanic dynasty in Britain.
This oratory, one of the two composed by Händel with texts from the Bible, It is a powerful exercise to claim the power that resides in the people and their rebellion against an unjust dominator.
That is why its main character is the chorus, a double chorus of the enslaved Hebrew people, for which the composer writes a succession of numbers barely interrupted by solo interventions, scarce in quantity but no less brilliant. An orchestra full of colors will contribute to this splendor, trumpet sounds, trombones and timpani.
The idea of a massive shout was revealed by the public and the press, in a reaction that confirms the greatness of Händel's art and that of art in general: the power of its universal message, couple to her formal beauty, the identification between music and intimate feeling, they have turned this piece into a universal work of art.
The Christmas concert of the 47th season Ibermúsica It will feature the French group Les Arts Florissants and the legendary bandleader, William Christie. Together they will perform one of the most popular oratorios about the life of Jesus of Nazareth:The Messiah, from Haendel, next Wednesday 21 from December, to 19:30 hours, at the National Auditorium of Music in Madrid. grouping, recognized for rescuing from oblivion the French baroque repertoire, will address one of the most impressive and symbolic works of that time.
The Messiah It premiered in Dublin 1742. Since then and throughout his life, Haendel directed each year their representation at Covent Garden in London during the Easter period. The work was written with unusual speed (between three and four weeks) and there is no definitive version, Haendel then rewrote several of its parts to suit different soloists concerts. Although the bulk of the oratorio addresses the death and resurrection of Jesus, during the nineteenth century became popular as a Christmas piece in the United States.
The 47th season Ibermúsica, in which this appearance fits, began last 24 June with the opening concert of the Vienna Philharmonic. Since then, and until May 2017, Programmed Ibermúsica 25 performances 12 of the best orchestras in the world. This is the brand that bears nearly half a century bringing the best music to Spain. The institution, Founded by Alfonso Aijón and co-directed now Llorenç Caballero, It has evolved in line with the times and has managed to preserve the interest in classical music.
Les Arts Florissants
This French ensemble was founded in 1979 by harpsichordist and conductor Franco-American, William Christie. Since then, the group has played a pioneering role in imposing on the French musical landscape repertoire hitherto neglected and admired and played too well today: that of the Great Century French and European music of the seventeenth and eighteenth centuries. usually directed by William Christie, he has held since 2007 regularly co-director with British tenor, Paul Agnew.
every season, Les Arts Florissants offer around 100 concerts and opera performances in France. They do it in stages as prominent as the Philharmonie de Paris, where they are artists in residence from 2015-, en el Caen Theater, The Opéra Comique, el Théâtre des Champs-Élysées, el Versailles, as well as numerous festivals. They are an active ambassador for French culture abroad and receive invitations to perform in New York, London, Edinburgh, Brussels, Vienna, Salzburg, Madrid, Barcelona and Moscow , among other cities worldwide.
They have an extensive discography with about a hundred recordings on Harmonia Mundi seals, Warner Classics/Erato y Virgin Classics. In 2013, They launched their own record label, Publishing Arts Florissants, with which they have recorded five albums. Last 4 November was released his latest LP, La Harpe Queen (with the Harmonia Mundi label), along with Christie and renowned harpist Xavier de Maistre. The album is inspired by the music of the harp that prevailed at the French court of the eighteenth century after the arrival of Marie Antoinette of Austria to the country Gallo.
In recent years, They have created numerous training programs for young musicians, como la Academia emblemática Le Jardin des Voix. Likewise, in 2012 pusieron en marcha el festival in the Gardens of William Christie, evento anual one that a artistas de Les Arts Florissants, students from the Juilliard School of Music in New York and finalists of the festival and musical concerts offer rides. The group is supported by the Ministry of Culture and Communication French, as well as the American Friends of Les Arts Florissants.
clavecinista, director, musicologist and professor, is the engine of one of the most exciting musical projects of recent 40 years: Les Arts Florissants. He rediscovered for the public French baroque music, a repertoire neglected to date. Career native east of Buffalo (NY), formed at Harvard and Yale, and installed in France 1971, took a decisive turn when 1979 launched this pioneering initiative. At the head of this set instrumental and vocal, William Christie impuso, both in concert and opera stages, a very personal style musician and showman, renewing the interpretation of this repertoire. In 1987 he met a true public consecration production Atys Lully in the Opéra Comique de París, a production that later also triumphed in many international stages.
Desde Charpentier Rameau, through Couperin, Mondonville, Campra the Montéclair, William Christie is the undisputed master of French lyric tragedy as well as opera-ballet productions, French motets and court music. Likewise, It has been dedicated to European repertoires, contributing to the rediscovery of the works of Italian composers such as Monteverdi, Rossi y Scarlatti. Besides being a great connoisseur and interpreter of the music of Purcell, Haendel, Mozart and Haydn. The extensive operatic career of William Christie has been marked by numerous collaborations with the most renowned stage directors and opera, como Jean-Marie Villégier, Robert Carsen, Alfredo Arias, Jorge Lavelli, Graham Vick, Adrian Noble, Andrei Serban, Luc Bondy and Deborah Warner. His recent projects include two productions at the Opéra Comique in Paris: Plataea (Rameau), in 2014; Y The Venetian Festivities (Campra), in 2015. As a guest, Christie regularly appears in prestigious opera festivals, as well as international operas, as the Metropolitan Opera in New York, the Opernhaus Zurich or the Opéra National de Lyon. Between 2002 Y 2007 He was also guest conductor of the Berlin Philharmonic Orchestra.
Its abundant production record (more of 100 recordings, many of which have won awards in France and abroad) It has been published by Harmonia Mundi seals, Warner Classics/Erato y Virgin Classics, and they reflected the richness of his artistic adventure. His most recent recordings have taken place with the seal Editions Les Arts Florissants: Belshazzar, Le Jardin de Monsieur Rameau, Music for Queen Caroline (a program of religious works of Haendel).
With a long career as a teacher, throughout his career William Christie has been involved in the formation of many of the directors of French baroque ensembles that began in Les Arts Florissants. He taught at the Paris Conservatoire from 1982 until 1995, and since 2007 He has been artist in residence at the Juilliard School of Music. In 2002 Fundo junto Les Arts Florissants the academia Le Jardin des Voix, whose runners are part of a world tour of the grouping leads. Because of his love of gardening, Christie launched in 2012 In the Gardens of William Christie, a music festival that takes place every August in the gardens of Vendée.
William Christie has been awarded the Legion of Honor, the most important recognition of France, así como the Ordre des Arts et des Lettres are the National Order of Merit. Doctor Honoris Causa by the State University of New York, la Juilliard School of Music y la University of Leide (Netherlands). In November 2008, He was elected to the Academy of Fine Arts in France. further, He is Honorary Member of the Royal Academy of Music in London.
In Spain, He was invited between 2008 Y 2010 by the Teatro Real Madrid to lead with stage director Pier Luigi Pizzi's trilogy Monteverdian. He has given recitals at the Arriaga Theater in Bilbao, the Auditorio Nacional in Madrid, Center Auditorium Miguel Delibes of Valladolid (of which are residents since the season 2010/11), Auditorio de Galicia in Santiago de Compostela. In 2011 was a great success in the Prince Felipe Auditorium in Oviedo Chamber Arias and Duettos, by Philippe Jaroussky and Max Cencic. That same year was also celebrated its Pygmalion Rameau at the Palau de la Música in Valencia. In 2015 he led the National Orchestra of Spain at the Auditorio Nacional of Madrid.
WEDNESDAY PROGRAM 21 FROM DECEMBER
National Music Auditorium, Symphony hall, 19:30 hours
duration 120 minutes
EMMANUELLE DE NEGRI, soprano
Vistoli CARLO, countertenor
SAMUEL GROUND, tenor
KONSTANTIN WOLF, low
On Sunday 16 October at 18 hours, the cycle Universe Baroque Music National Broadcasting Center (CNDM) It presented in the Symphony Hall of National Music Auditorium in Madrid, the opera Tamerlanofrom Haendel, interpreted, concert version, by Tomato with Maxim Emelyanychev to the direction and an exceptional vocal cast starring great international voices specialized in this repertoire: Xavier Sabata, Max Emanuel Cencic, Juan Sancho, Romina Basso, Dilyara Idrisova Y Pavel Kudinov. It is about, undoubtedly, one of the major events of the opera season in Madrid.
The tenor protagonist
In 1724 George Frideric Handel era, Indisputably, the great dominator of the London scene. His crusade to implant Italian opera in England was accompanied by success. He 20 February of that year, in the fifth season of the Royal Academy of Music –Founded by a group of aristocrats to ensure a constant supply of serious operas–, the Saxon composer premiered Giulio Cesare. London audiences enthusiastically received: thirteen representations, plus twenty reruns over the years 1725, 1730 Y 1732. Handel had set the bar very high and was aware that his fans were no longer going to settle for operas that were at a lower level. He 31 October of that same year, what meant the opening of a new season Royal Academy of Music at King’s Theater de Haymarket, Tamerlano premiere takes place, written during July, in the incredible space of just three weeks. Fortune smile again: nine functions, to which three more functions will be added at the end of the season, in May 1725.
Tamerlano confirmed Handel as the great operatic talent of the moment and has become one of the most popular operas of its author and a key title in the history of music, among other things because it includes the most developed tenor role in the entire Haendelian lyrical corpus, that in this interpretation Juan Sancho will assume. In the golden age of the castrati, it occurs to Handel that the protagonist was a deep voice, specific, that of Francesco Borosini for the role of Bajazet. Yes, because the protagonist of this story is not Tamerlano, as its title might suggest, sino Bajazet, Ottoman emperor who was defeated in 1402 by Tamerlane, military and political leader Tartar. curiously, a part of the extraordinary score is almost religious origin, as it had previously been used by Handel in the Italian oratory The resurrection (Roma, 1708) and in the Brockes-Passion German (Hamburg, 1719). We are facing one of the deepest Handelian tragedies, intense and powerful. It is about, Besides, of an opera that presents an incredible amount of music-dramatic problems, which is why it is rare for today's conductors to opt - whether for performances in concert halls or for studio recordings - for the original version of 1724 (the only one who has dared to do so has been George Petrou, in the recording he made for the German label MDG in 2006). The version that we will hear in this quote is that of 1731, in which there are substantial changes: significantly shorten the recitatives, several numbers are dispensed with and an added aria is offered, "In the world and in the abyss", for the famous bass Antonio Montagnana, who intervened in said replacement in the role of Leone. Aria that belonged to the opera Riccardo primo, released in 1727. Nonetheless, it has been chosen to recover here the formidable triplet of Tamerlano, Bajazet y Asteria "I want to massacre", which appeared in the version of 1724.
tickets, 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 www.entradasinaem.es and by phone at 902 22 49 49.
A baroque opera is always an event. First, and in the case of Alcina, for the excellence of their music. And secondly by the few opportunities we have to enjoy.
One can say that Alcina was the final product after the bad relationship of two geniuses of Baroque music. Haendel as a composer who was then a conductor at the Royal Academy of Music (1720-1728), based at King's Theatre, and the counter Senesino as interpreter of most of his compositions.
In 1734 the differences between the two are accentuated and they decide to separate. The composer leaves the King's Theater, to settle in Covent Garden, and Senesino starts working for a new Italian composer, Nicola Porpora, founding in the King's Theater the new company "Opera of the Nobility" (Nobility Opera).
This new business situation supposed an operatic duel between the former collaborators. Handel felt the obligation to create a work capable of competing with his rival in London at the time.. And this is where our protagonist appears, Alcina.
The taste for the most extravagant mythology that occurred at the time of its composition, led Handel to look at an anonymous script, based on L´isola d´Alcina from Riccardo Broschi, based in turn on Cantos VI and VII of the epic poem Orlando Furioso (1516) from Ludovico Ariosto. A tale in which the sorceress Alcina turns her former lovers into animals or rocks.
Alcina has long been unjustly condemned to remain outside the usual repertoires. Accused of "unrepresentable" and for alleged difficulties in dramatizing a devilish libretto where the interrelation of the characters almost forces the viewer to use a who's who guide.
This production of the Bordeaux Opera consists of different aspects to take into account. The first, and more important, Handel's extraordinary music. A baroque masterpiece second only to Julius Caesar. This is the main reason why it is not understood that the public does not finish filling the theater or, even, leave it in one of the two breaks of which it has consisted. But maybe we will find later the explanation to this urgent need for dinner.
The scenic proposal of David Alden It is inspired by the movie of Woody Allen, The Purple Rose of Cairo. Under the idea of the theater within the theater, Alden discovers the fantastic key to the work. As two sides of the same coin it presents the dream and the reality. Maybe that's why Alcina sings her first aria behind the curtain.
From the world of dreams, of fantasy. It is at that moment when the story begins. A decadent theater and the entrance to the boxes, are the main stages of the play.
Despite this outpouring of genius by David Alden, the scenic proposal does not finish reaching the public. It is excessively static in some cases and in others lack of rhythm and balance. There are times when the disconnect between music and scene is evident. The slight illumination of Simon Mills knows how to fill the small details with light, but it darkens situations that require more brightness. A code book is missing, not just to identify the characters, also to know the meaning of some scenes.
The general impression is that, maybe, the Royal Theater is a bit too big for this production. But who is really big has been some of the components of this second cast.
María José Moreno brings to life a sharp and cheerful Morgana. Performing his main arias skillfully and displaying almost pyrotechnic qualities in the “Go back to wandering”. Its treble and lightness brightened its impeccable performance.
Sofia Soloviy it has been a very solvent Alcina, especially in interpretation. Its elegant singing line gave us an Alcina with a certain aristocratic appearance.
Jose Maria Lo Monaco, as Ruggiero, it didn't happen to be nice. Its "Verdi prati"The second act was full of emotion.
The rest of the cast did not have their night. A Angelique Noldus you could barely hear her and Johannes Weisser, as Melisso, made viewers suffer in some of his speeches. The same happened to Anthony Gregory Y Franceca Lombardi Mazzulli. Sometimes their voices didn't seem to come out of their necks.
A great theater should not allow the suffering of some singers on stage. Nor does that of some viewers who pay the same price to listen to leading figures.
The orchestral conducting of Cristopher Moulds it was a balm. Demonstrated how you can achieve a baroque sound without the need for vintage instruments. He always accompanied each instrument of the Orchestra and each singer on stage and always smiling. We must highlight the musicians who performed from the stage, Eva Jornet Y Red Melody, Recorders. Victor Ardelean, violin and a master Simon Veis a cello.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real
georg Friedrich Handel
D. musical: Christopher Moulds
D. scene: David Alden
Escenógrafo y costume: Gideon Davey
Lighting: Simon Mills
choreographer: Beate Vollack
Distribution: Sofia Soloviy, María José Moreno, Jose Maria Lo Monaco, Angelique Noldus, Johannes Weisser, Anthony Gregory, Francesca Lombardi Mazzulli.
Head of the Royal Theatre Orchestra
The next Tuesday 29 of September, to 20.00 hours, he Teatro Realofrecerá el primer concierto de su ciclo REAL VOICES, a recital of Natalie Dessay, accompanied on piano by Philippe Cassard.
French singer returns to Real, where he debuted in March 2008 performing opera arias of Italian and French.
This time, five years later, Natalie Dessay the Madrid coliseum brings a more intimate program, entirely composed of songs, repertorio que frecuenta con asiduidad desde que en 2013 se despidiera de los escenarios operísticos tras interpretar el rol titular de Manon deMasseneten Toulouse.
Después de más de veinte años de brillante carrera, marcada por sus dotes vocales y dramáticas, y su capacidad para ir adaptando el repertorio a la idiosincrasia de su voz, Natalie Dessay ha redireccionado su trayectoria artística en diversas ocasiones, explorando un vasto repertorio, que abarca desde los papeles de soprano coloratura que la han catapultado a la fama, hasta los roles belcantistas más dramáticos, sin olvidar sus interpretaciones deMonteverdi, Bach, Haendel, Debussy O Stravisnky.
the soprano, verdadero ave fénix del canto, dedica esta etapa de su vida a espectáculos puramente teatrales, su vocación primordial, y a conciertos de cámara en los que, but nevertheless, siguen patentes la ductilidad de su voz, su expresividad y el talento actoral que la han consagrado como artista.
El programa que interpretará en Madrid, con los sentimientos, images, recuerdos y perfumes que transitan por los poemas de Goethe, Hugo, Thomas Moore OBaudelaireexaltados por la música deSchubert, Mendelshonn, Liszt, Duparc, Fauré O Bizet, permitirán a Natalie Dessay, con la complicidad del refinado pianista Philippe Cassard, exhibir su extraordinaria versatilidad en este delicado repertorio.
Al término de su recital la soprano estará a disposición del público para la firma de autógrafos en el foyer del Teatro Real.