{"id":34091,"date":"2024-11-04T11:00:00","date_gmt":"2024-11-04T10:00:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&#038;p=34091"},"modified":"2024-11-04T13:14:16","modified_gmt":"2024-11-04T12:14:16","slug":"milosz-songs-chamber-concert-2","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/milosz-songs-chamber-concert-2\/","title":{"rendered":"AFFETTI BAROCCHI"},"content":{"rendered":"\n<p>How many feelings a Baroque musical narrative can convey, and how many shades of emotion lie hidden in its expressive vocal and instrumental music! The concert program, which features compositions by outstanding creators active in Italy in the 17th century, will be opened by Monteverdi&#8217;s <em>Sinfonia Claudia<\/em>. Afterward, two of his famous laments will be performed &#8211; <em>Lamento della Ninfa <\/em>from Book VIII of Madrigals and <em>Lamento d&#8217;Arianna<\/em> from 1608. The only preserved fragment from the lost drama <em>Arianne <\/em>sparkles with expressive motifs &#8211; cries, sighs, and other musical means perfectly reflecting the words spoken by the protagonist. The laments composed by Barbara Strozzi are also incredibly moving. In <em>Lagrime mie<\/em>, this author of over 120 compositions uses bold melodies and interesting harmonic solutions to paint tears, pain, and suffering with sounds. The beginning of<em> Che si puo fare<\/em>, on the other hand, is marked by a descending, mournful melody in the ostinato bass line. The development of extensive solo melodies against the background of a melodic motif repeated multiple times in the lowest voice was a common technique of the Baroque era. It was also often used by, among others, Giovanni Sances, a multi-talented composer from Rome \u2013 whether in compositions of a serious nature (<em>Usurpator tiranno) <\/em>or slightly lighter ones (<em>Lagrimosa belta<\/em>).<\/p>\n\n\n\n<p>A similarly wide range of emotions can be heard in purely instrumental compositions. The creator who significantly contributed to making instrumental music independent of vocal models was Tarquinio Merula. In his dance compositions, he departed from the strict form characteristic of functional music in favor of a refined play on meter and rhythm, which gave his pieces a particular lightness. Isabella Leonarda also left behind a significant collection of instrumental works, in addition to her rich liturgical body of work. During the concert, we will hear her<em> Sonata prima<\/em>, the successive sections of which delight with the variety of musical means used.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>PROGRAM<\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\">Claudio Monteverdi \u2013 Sinfonia<\/p>\n\n\n\n<p class=\"has-text-align-center\">Giovanni Sances \u2013 <em>Usurpator tiranno<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Barbara Strozzi \u2013 <em>Che si puo fare<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Tarquinio Merula \u2013 <em>Ballo detto Eccardo<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Tarquinio Merula \u2013 <em>Ballo detto Pollicio<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Claudio Monteverdi \u2013 <em>Lamento della Ninfa<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Isabella Leonarda \u2013 Sonata prima per due violini col basso<\/p>\n\n\n\n<p class=\"has-text-align-center\">Claudio Monteverdi \u2013 <em>Lamento d\u2019Arianna<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Barbara Strozzi \u2013 <em>Lagrime mie<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Tarquinio Merula \u2013 Ciaccona<\/p>\n\n\n\n<p class=\"has-text-align-center\">Giovanni Sances \u2013 <em>Lagrimosa belta<\/em><\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>PERFORMERS<\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/artysci\/marta-boberska\/\">MARTA BOBERSKA<\/a><\/strong> SOPRANO<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/artysci\/aneta-lukaszewicz\/\">ANETA \u0141UKASZEWICZ<\/a><\/strong> ALTO<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/the-period-instruments-ensemble-of-the-polish-royal-opera-capella-regia-polona\/\">THE PERIOD ISTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/krzysztof-garstka\/\">KRZYSZTOF GARSTKA<\/a><\/strong> HARPSICHORD, CONDUCTOR<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Duration: approx. 1 h<\/p>\n\n\n\n<p>The seats in the auditorium are not numbered.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>How many feelings a Baroque musical narrative can convey, and how many shades of emotion lie hidden in its expressive vocal and instrumental music! The concert program, which features compositions by outstanding creators active in Italy in the 17th century, will be opened by Monteverdi&#8217;s Sinfonia Claudia. Afterward, two of his famous laments will be [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":10081,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[1,21],"cykle":[],"sezon":[86],"class_list":["post-34091","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","category-bez-kategorii","category-uncategorized","sezon-2024-2025-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>AFFETTI BAROCCHI - Polska Opera Kr&oacute;lewska<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operakrolewska.pl\/en\/repetoire\/milosz-songs-chamber-concert-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"AFFETTI BAROCCHI - Polska Opera Kr&oacute;lewska\" \/>\n<meta property=\"og:description\" content=\"How many feelings a Baroque musical narrative can convey, and how many shades of emotion lie hidden in its expressive vocal and instrumental music! 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Afterward, two of his famous laments will be [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/operakrolewska.pl\/en\/repetoire\/milosz-songs-chamber-concert-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Polska Opera Kr&oacute;lewska\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/web.facebook.com\/PolskaOperaKrolewska\/\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T12:14:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/operakrolewska.pl\/wp-content\/uploads\/2019\/04\/muzyka_kameralna.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"864\" \/>\n\t<meta property=\"og:image:height\" content=\"490\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/operakrolewska.pl\\\/en\\\/repetoire\\\/milosz-songs-chamber-concert-2\\\/\",\"url\":\"https:\\\/\\\/operakrolewska.pl\\\/en\\\/repetoire\\\/milosz-songs-chamber-concert-2\\\/\",\"name\":\"AFFETTI BAROCCHI - 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