{"id":15909,"date":"2020-07-21T09:00:30","date_gmt":"2020-07-21T07:00:30","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=15909"},"modified":"2020-09-19T23:45:41","modified_gmt":"2020-09-19T21:45:41","slug":"johann-adolf-hasse-monographic-concert","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/johann-adolf-hasse-monographic-concert\/","title":{"rendered":"JOHANN ADOLF HASSE \/ MONOGRAPHIC CONCERT"},"content":{"rendered":"

EVENT AS PART OF THE FESTIVAL IN TEMPORE REGUM – Music of the Time of Kings<\/p>\n

Johann Adolf Hasse is one of the most eminent artists of the late baroque. This German composer, whose operas were considered to be the pinnacle of excellence, for years remained in the service of Polish kings Augustus II and Augustus III. His dramma per musica La Zenobia from <\/em>1761 to the text of eminent librettist, Pietro Metastasio, is one of the three works specially composed for the court in Warsaw.<\/p>\n

The significant, culture-shaping role played by opera music in the 18th<\/sup> century was demonstrated by, among others, the way it influenced the shape of religious music of the time. The phenomenon of using virtuoso vocal technique for liturgical music, often called the \u201copera in church\u201d, was also seen in the way arias from Hasse\u2019s operas were used for religious compositions. Many contrafacta \u2013 arias with substituted texts \u2013 survived in church archives scattered around the whole Commonwealth and in numerous places of worship of the 18th<\/sup>-century Poland. Hasse also authored strictly liturgical compositions, including the Marian antiphone Salve Regina<\/em>. Requiring particular skill, the coloratura solo part was probably written for the composer\u2019s wife and excellent opera singer – Faustina Bordoni.<\/p>\n

 <\/p>\n

Marta Dziewanowska-Pachowska<\/span><\/p>\n

 <\/p>\n

THE PROGRAMME<\/strong><\/h4>\n

JOHANN ADOLF HASSE<\/strong><\/p>\n

Salve Regina<\/strong>
\n1. Salve Regina
\n2. Ad te clamamus
\n3. Eja ergo
\n4. O clemens, o pia<\/p>\n

 <\/p>\n

La Zenobia<\/em><\/strong>
\nAria Egle\u00a0Di ricche gemme e rare<\/em>
\nAria Zopiro\u00a0Cada, cada l\u2019indegno<\/em>
\nAria Egle\u00a0Ha nell\u2019occhi un tale incanto<\/em>
\nAria Mitrane\u00a0Pastorella, io giurerei o\u00a0che avvampi<\/em>
\nAria Tiridate\u00a0So che, sognata ancora<\/em>
\nAria Zopiro\u00a0Salvo tu vuoi lo sposo
\nAria Radamisto\u00a0Non respiro
\n<\/em><\/p>\n

 <\/p>\n

PERFORMERS<\/span><\/strong><\/h4>\n

MARTA BOBERSKA<\/strong> <\/a>SOPRANO
\nIWONA LUBOWICZ<\/strong><\/a>\u00a0 SOPRANO
\nANNA RADZIEJEWSKA<\/strong><\/a>\u00a0 ALTO
\nTOMASZ KRZYSICA\u00a0<\/strong>\u00a0TENOR<\/p>\n

THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/strong><\/a><\/p>\n

KRZYSZTOF GARSTKA<\/strong><\/a> CONDUCTOR<\/p>\n

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Seats are not numbered.<\/p>\n

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We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n