{"id":30122,"date":"2023-12-05T09:00:00","date_gmt":"2023-12-05T08:00:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=30122"},"modified":"2024-01-09T00:27:10","modified_gmt":"2024-01-08T23:27:10","slug":"singe-seele-chamber-concert","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/singe-seele-chamber-concert\/","title":{"rendered":"SINGE SEELE \/ CHAMBER CONCERT"},"content":{"rendered":"\n

There is certainly no place in the world where a man may travel with greater pleasure and advantage than in Italy<\/em>. With these words, Joseph Addison began the account of his journey to Italy, which he made just a few years before Haendel. Although young Haendel did not initially show such enthusiasm for the idea of travel, there is no doubt that his visits to Florence, Venice, Rome, and Naples played a key role in shaping his creative expression. Enchanted by the melodiousness and theatricality of local music, Haendel wrote tens of cantatas, of which one of the most moving is undoubtedly La Lucrezia<\/em> HWV 145 from 1706. In the subsequent recitatives and arias, the composer conveyed the entire range of intense emotions of a woman who, having experienced rape, finally decides to take her own life. An entirely different mood accompanies the cantata Mi palpita il cor <\/em>HWV 132, where a young lover is tormented by doubts as to whether his beloved reciprocates his feelings. This composition must have been a favorite of Haendel himself, as he composed it in at least four versions, for different instrumental ensembles.<\/p>\n\n\n\n

The cycle Neun deutsche Arien <\/em>HWV 202-2010 was created much later, between 1724 and 1727, in London. Let us not be fooled by the German text of Barthold Heinrich Brockes’ poetry – the musical style of these works does not differ from Haendel’s Italian works from this period. Although these arias are not part of a larger narrative, they – like the solo passages from Rodelinda<\/em> or Julius Caesar<\/em> – delight with their songful melodies, intuitive harmony, and natural, moderate expression.<\/p>\n\n\n\n

<\/div>\n\n\n\n

PROGRAM<\/h4>\n\n\n\n

Georg Friedrich Haendel<\/strong> — from the cycle Neun deutsche Arien<\/em> HWV 202-210:<\/strong>
K\u00fcnft\u2019ger Zeiten eitler Kummen<\/em> HWV 202
Das zitternde Gl\u00e4nzen der spielenden Wellen<\/em> HWV 203
S\u00fc\u00dfer Blumen Ambraflocken<\/em> HWV 204
Die ihr aus dunkeln Gr\u00fcften<\/em> HWV 208
Meine Seele h\u00f6rt im Sehen<\/em> HWV 207<\/p>\n\n\n\n

Georg Friedrich Haendel<\/strong> — Mi palpita il cor<\/em> HWV 132c<\/strong><\/p>\n\n\n\n

Georg Friedrich Haendel<\/strong> — from the cycle<\/strong> Neun deutsche Arien <\/em>HWV 202-210:<\/strong>
In den angenehmen B\u00fcschen<\/em> HWV 209
S\u00fc\u00dfe Stille, sanfte Quellen<\/em> HWV 205
Flammende Rosen, Zierde der Erden<\/em> HWV 210
Singe Seele, Gott zum Preise<\/em> HWV 206<\/p>\n\n\n\n

Georg Friedrich Haendel<\/strong> — La Lucrezia<\/strong> HWV 145<\/p>\n\n\n\n

<\/div>\n\n\n\n

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

DOROTA SZCZEPA\u0143SKA<\/strong> SOPRANO<\/p>\n\n\n\n

ANNA RADZIEJEWSKA<\/a><\/strong> MEZZOSOPRANO <\/p>\n\n\n\n

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

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

<\/div>\n\n\n\n
\n\n\n\n

Duration: approx. 1 h 40 min<\/p>\n\n\n\n

The seats in the auditorium are not numbered.<\/p>\n","protected":false},"excerpt":{"rendered":"

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