{"id":20058,"date":"2021-08-06T14:01:57","date_gmt":"2021-08-06T12:01:57","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=20058"},"modified":"2021-09-17T13:52:50","modified_gmt":"2021-09-17T11:52:50","slug":"davide-penitente-wolfgang-amadeus-mozart","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/davide-penitente-wolfgang-amadeus-mozart\/","title":{"rendered":"DAVIDE PENITENTE \/ WOLFGANG AMADEUS MOZART"},"content":{"rendered":"

 <\/p>\n

Although Mozart was famous for his unwavering invention and extraordinary tempo of writing new compositions, even he, like other composers, sometimes reached for his older works to use them in new contexts. The cantata Davide penitente<\/em> is a special example of this type of composition. In this case, Mozart was not so much inspired by a previously written fragment, but literally copied the music from two previously completed movements (Kyrie and Gloria from the Mass in C minor KV 427), adding a completely original Italian text as well as supplementing them with two arias and the final cadenza. However, the Viennese audience at the premiere of the work in 1785 during a charity concert organized by the Wiener Tonk\u00fcnstler-Societ\u00e4t could not have known the original work. The composition was well received and was performed many times in the years that followed.<\/p>\n

Still, today the situation is very different – after all, the Great Mass in C minor is one of the most famous religious compositions of the great Viennese. It is an interesting opportunity to enjoy the same musical material reworked by the composer himself with a different text, in two different languages. Today’s event will feature an Italian paraphrase of the biblical Psalms of David selected by Mozart, written in the mid-18th<\/sup> century by the poet and musician Saverio Mattei.<\/p>\n

The solemn Kyrie KV 341 solemn in D minor will serve as a kind of musical introduction. It was once considered to be one of the first pieces written by Mozart in Munich. Today, however, the piece is dated rather to the last years of the Master’s life, yet its sublime character still prompts a particular kind of reflection.<\/p>\n

PROGRAM<\/h4>\n

Wolfgang Amadeus Mozart<\/strong><\/p>\n

Kyrie<\/em> KV 341<\/p>\n

Davide penitente<\/em> KV 469
\nChorus Alzai le flebili voci al Signor<\/em><\/span>
\nChorus Cantiam le glorie<\/em><\/span>
\nAria Lungi le cure ingrate<\/em><\/span>
\nChorus Sii pur sempre benigno, oh Dio<\/span>
\nDuet Sorgi, o Signore, e spargi<\/em><\/span>
\nAria A te, fra tanti affanni<\/em><\/span>
\nChorus Se vuoi, puniscimi<\/em><\/span>
\nTercetto Tutte le mie speranze<\/em><\/span>
\nChorus Chi in Dio sol spera \u2013 Di tai pericoli non ha timor<\/em><\/span><\/p>\n

 <\/p>\n

<\/h4>\n

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

AGNIESZKA KOZ\u0141OWSKA<\/strong><\/a>\u00a0I SOPRANO
\nANETA \u0141UKASZEWICZ <\/b><\/a>II SOPRANO
\nJACEK SZPONARSKI<\/strong> TENOR<\/p>\n

THE CHORUS OF THE POLISH ROYAL OPERA<\/b><\/a><\/p>\n

THE ORCHESTRA OF THE POLISH ROYAL OPERA<\/strong><\/a><\/p>\n

LILIANNA KRYCH<\/strong><\/a> CHORUS MASTER<\/p>\n

TADEUSZ KAROLAK<\/strong> CONDUCTOR<\/p>\n

 <\/p>\n

 <\/p>\n

\n
Duration: approx. 1 h<\/h5>\n
The seats in the auditorium are not numbered.<\/h5>\n
\n

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