{"id":24155,"date":"2022-07-04T09:20:01","date_gmt":"2022-07-04T07:20:01","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=24155"},"modified":"2022-09-03T13:08:03","modified_gmt":"2022-09-03T11:08:03","slug":"concert-arias-symphony-wolfgang-amadeus-mozart","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/concert-arias-symphony-wolfgang-amadeus-mozart\/","title":{"rendered":"CONCERT ARIAS \u2013 SYMPHONY \/ WOLFGANG AMADEUS MOZART"},"content":{"rendered":"

It is no coincidence that the ballet fragments from the third act of the opera Idomeneo<\/em>, written in 1781, open and close the program of the concert. Thanks to the rich correspondence between Mozart and his father concerning this work, we know how the close cooperation with the singers who were to play particular roles shaped the creative attitude of the young composer. The vocal abilities of the soloists were an inspiration for interesting musical solutions, and direct contact with the performers taught Mozart how to set limits to external interference in the final shape of the piece.<\/p>\n

The timbre of the human voice inspired Mozart many times. For example, when returned to his Idomeneo<\/em> in 1786 an additional scene was created, Non temer amata bene<\/em> KV 490, which he probably wrote with the voice of Nancy Storace in mind. The composer, enchanted by the singer – as Alfred Einstein put it perfectly – combined in this piece “the intimacy of a letter with the highest grandeur of form”. The special relationship with Nancy is evidenced both by the dedication of the scene and aria Ch’io mi scordi di te<\/em> KV 505 – “F\u00fcr Mselle Storace und mich” (“For Ms Storace and me”), as well as the extraordinary suggestiveness and expression of the dialogue between the vocal part and the piano. Mozart was also not indifferent to the technical proficiency and expressive perfection of instrumentalists. The aria Per questa bella mano<\/em> KV 612 would not have been created without the admiration for Pischlberger’s virtuoso playing on the double bass, while the Parto, parto<\/em> – the aria of Sesto from the opera La clemenza di Tito<\/em> KV 621 would certainly have sounded different had Mozart not learned about the technical abilities of the clarinetist Anton Stadler.<\/p>\n

<\/h4>\n

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

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

Chaconne<\/em> from the opera Idomeneo<\/em> KV 367<\/p>\n

Per<\/em> questa<\/em> bella<\/em> mano<\/em> KV 612<\/p>\n

PAWE\u0141 MICHALCZUK<\/b><\/a> BASS
\nALBERT MYCZKOWSKI<\/b> DOUBLE BASS<\/p>\n

Non temer amato bene<\/em> KV 490<\/p>\n

JACEK SZPONARSKI<\/b> TENOR
\nTOMASZ KULISIEWICZ<\/b><\/a> VIOLIN<\/p>\n

Symphony in G minor No 25 KV 183
\nAllegro con brio \u2013 Andante \u2013 Menuetto e Trio \u2013 Allegro<\/span><\/p>\n

Ch\u2019io mi scordi di te<\/em> KV 505<\/p>\n

GABRIELA KAMI\u0143SKA<\/b><\/a> SOPRANO
\nKRZYSZTOF TRZASKOWSKI<\/b><\/a> GRAND PIANO<\/p>\n

Parto, parto<\/em> \u2013 aria (Sesto)\u00a0from the opera La clemenza di Tito<\/em> KV 621<\/p>\n

MONIKA LEDZION-PORCZY\u0143SKA<\/b><\/a> MEZZOSOPRANO
\nJULIAN PAPROCKI<\/b> CLARINET<\/p>\n

Pas seul <\/em>from the opera Idomeneo<\/em> KV 367<\/p>\n

\n

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

MARTA KLUCZY\u0143SKA<\/strong> CONDUCTOR<\/p>\n

 <\/p>\n

\n

Duration: approx. 1 h 15 min<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

It is no coincidence that the ballet fragments from the third act of the opera Idomeneo, written in 1781, open and close the program of the concert. 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