{"id":41168,"date":"2025-12-05T11:00:00","date_gmt":"2025-12-05T10:00:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&#038;p=41168"},"modified":"2026-01-22T11:18:23","modified_gmt":"2026-01-22T10:18:23","slug":"amor-barocco","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/amor-barocco\/","title":{"rendered":"AMOR BAROCCO"},"content":{"rendered":"\n<p>Baroque \u2013 an era in which art and music brim with a wealth of forms, refined symbolism, and above all, a love of dramaturgy. The latter is particularly visible in vocal-instrumental music \u2013 in the perfect synthesis of word and sound observable not only in operas, but also in cantatas, duets, arias, and songs. <em>\u201c<em>Music be the food of love<\/em>\u201d<\/em> \u2013 this is the Shakespearean quote that opens Henry Purcell\u2019s highly expressive song to words by Henry Heveningham. It is therefore no surprise that one of the favourite themes of seventeenth-century composers was precisely this emotion and its various shades.<\/p>\n\n\n\n<p>The concert will open with a famous declaration of love \u2013 the madrigal <em>Amarilli, mia bella<\/em> by Giulio Caccini (1551\u20131618), one of the Florentine doyens of the new style in music. This accomplished singer and teacher paid particular attention to the intelligibility and emotional expression of the poetic text. These ideas were also implemented by Claudio Monteverdi (1567\u20131643), who reached for even more evocative means. His <em>Lament of Arianna<\/em> seems to contain within itself the entire inexpressible despair of a lover abandoned by Theseus. Both composers pointed the way in thinking about music for subsequent generations of creators. A splendid example of this is <em>Clori vezzosa e bella<\/em>, a cantata by Alessandro Scarlatti (1660\u20131725), in which a shepherd in love with a beautiful nymph expresses his devotion, grateful for the suffering brought about by his passion. The hero\u2019s exaggerated emotions are emphasized with sophisticated devices reminiscent of some of the most tragic moments of dramatic works. And yet, the dance-like character of the gigue in the final aria leaves no doubt that Scarlatti is playing with convention and treats the shepherd\u2019s exaltation with appropriate irony. The close relationship between music and text is equally easy to discern in<em> L\u2019Amante povero<\/em> by Antonio Caldara (1670\u20131736). Already at the beginning of the first aria, the composer highlights the words <em>scherzo<\/em> (joke) and <em>gioco<\/em> (play) with a suggestive melisma, and later on in the love monologue, he applies, with no less mastery, a whole array of rhetorical devices. The concert will conclude with music by Georg Friedrich Handel (1685\u20131759). Separated by a radiant overture, the duets <em>Alma mia!<\/em> from <em>Admeto<\/em>, the last opera performed during the composer\u2019s lifetime, and <em>Tu caro, caro sei<\/em> from <em>Sosarme<\/em> delight with the effortless elegance of their harmonious dialogue. <\/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\">PROGRAM<\/h4>\n\n\n\n<p class=\"has-text-align-center\">Giulio Caccini \u2013 <em>Amarilli, mia bella<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Henry Purcell \u2013 <em>If music be the food of love<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Claudio Monteverdi &#8211; <em>Lamento d\u2019Arianna<\/em>, SV 22<\/p>\n\n\n\n<p class=\"has-text-align-center\">Alessandro Scarlatti \u2013 Concerto grosso in G major R. 533.8<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Allegro | Adagio | Allegro | Adagio | Vivace<\/p>\n\n\n\n<p class=\"has-text-align-center\">Alessandro Scarlatti \u2013 <em>Clori vezzosa e bella<\/em> H. 134<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Recytatyw: <em>Clori vezzosa e bella<\/em><br>Aria: <em>Volgi lo sguardo e vedi<\/em><br>Recytatyw: <em>Vivo penando \u00e8 ver<\/em><br>Aria: <em>S\u00ec, mio ben, s\u00ec ancor vorrei<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Antonio Caldara \u2013 <em>L\u2019Amante povero<\/em> <\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Aria: <em>Fatto son della fortuna<\/em><br>Recytatyw: <em>Povert\u00e0 mi tormenta<\/em><br>Aria: <em>Di gemino nume son vittima<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Antonio Caldara \u2013 Sonata da camera a due violini in D major<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Preludio. Adagio | Allemande. Allegro spiritoso | Giga. Allegro<\/p>\n\n\n\n<p class=\"has-text-align-center\">Georg Friedrich Handel \u2013 <em>Alma mia!<\/em> from the opera <em>Admeto<\/em> HWV 22<\/p>\n\n\n\n<p class=\"has-text-align-center\">Georg Friedrich Handel \u2013 Ouverture from the opera <em>Admeto<\/em> HWV 22<\/p>\n\n\n\n<p class=\"has-text-align-center\">Georg Friedrich Handel \u2013 <em>Tu caro, caro sei <\/em>from the opera <em>Sosarme<\/em> HWV 30<\/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\/en\/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\/en\/artysci\/aneta-lukaszewicz\/\">ANETA \u0141UKASZEWICZ<\/a><\/strong>&nbsp;MEZZOSOPRANO<\/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 INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/krzysztof-garstka\/\"><strong>KRZYSZTOF GARSTKA<\/strong><\/a>&nbsp;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 10 mins<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h5 class=\"wp-block-heading has-text-align-center\"><\/h5>\n","protected":false},"excerpt":{"rendered":"<p>Baroque \u2013 an era in which art and music brim with a wealth of forms, refined symbolism, and above all, a love of dramaturgy. The latter is particularly visible in vocal-instrumental music \u2013 in the perfect synthesis of word and sound observable not only in operas, but also in cantatas, duets, arias, and songs. \u201cMusic [&hellip;]<\/p>\n","protected":false},"author":15,"featured_media":10082,"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":[105],"class_list":["post-41168","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","category-bez-kategorii","category-uncategorized","sezon-2025-2026-2"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>AMOR BAROCCO - 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\/amor-barocco\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"AMOR BAROCCO - Polska Opera Kr&oacute;lewska\" \/>\n<meta property=\"og:description\" content=\"Baroque \u2013 an era in which art and music brim with a wealth of forms, refined symbolism, and above all, a love of dramaturgy. 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