{"id":43501,"date":"2026-04-14T09:10:20","date_gmt":"2026-04-14T07:10:20","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&#038;p=43501"},"modified":"2026-04-14T11:40:49","modified_gmt":"2026-04-14T09:40:49","slug":"italian-sacred-music","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/italian-sacred-music\/","title":{"rendered":"ITALIAN SACRED MUSIC"},"content":{"rendered":"\n<p>The 17th century in Italian music was a time of the birth and flourishing of the refined concertato style, also present in sacred music. However, alongside these innovative ideas, the tradition rooted in the works of the master from Palestrina remained very much alive. The equal status of these two contrasting styles is evident in the works of Claudio Monteverdi, who, in his sacred compositions, employed the techniques of both the <em>prima pratica<\/em> and the <em>seconda pratica<\/em> with equal mastery. The six-voice motet is one of four works by Monteverdi included in the collection <em>Libro primo de Motetti<\/em>, published in 1620 by Giulio Cesare Bianchi. The composer, who had served as <em>maestro di cappella<\/em> at St Mark\u2019s Basilica in Venice since 1613, wrote it for the Good Friday liturgy. <em>Adoramus te<\/em> captivates with its restraint and elegance, inviting the audience to immerse themselves in reflection and the mystery of faith. <\/p>\n\n\n\n<p>The richness and refinement of the Venetian Baroque musical tradition resonated throughout Europe. It was also shaped by Antonio Lotti, born a hundred years after Monteverdi. He spent almost his entire professional life connected with the famous basilica \u2013 as a singer, organist, and eventually as <em>maestro di cappella<\/em>. Only for two years, beginning in 1717, did he leave the city, having been appointed Kapellmeister of the Italian ensemble at the Dresden court of the King of Poland and Elector of Saxony, Augustus II the Strong. It was there that Lotti composed <em>Credo in F<\/em> \u2013 a work remarkable for its solemn character, concertato style, and expressive treatment of the text, especially in the <em>Crucifixus<\/em> section, which stands out for its depth of expression. The extraordinary expressive power embedded in dissonant harmonies \u2013 though in a very different form \u2013 also characterizes the <em>Sinfonia al Santo Sepolcro<\/em> by Antonio Vivaldi. This concise yet deeply moving instrumental piece, with its paraliturgical character, was written for the observances of Holy Week at the Ospedale della Piet\u00e0 in Venice, with which Vivaldi was associated for nearly forty years. Also originating from the City of the Lagoon was Antonio Caldara \u2013 one of the most prolific and distinguished composers of the Italian late Baroque. He spent the last two decades of his life in service at the imperial court of Charles VI of Habsburg. It was there that the <em>Missa dolorosa<\/em> was composed in 1735 \u2013 one of the composer\u2019s final Mass cycles, intended for the Feast of Our Lady of Sorrows, established only a few years earlier. Refined rhetorical devices, sophisticated fugues, and masterfully crafted consonance of voices and instruments shape this intensely emotional, almost theatrical depiction of human suffering.<\/p>\n\n\n\n<p><\/p>\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\">Claudio Monteverdi (1567\u20131643) \u2013 <em>Adoramus te<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Antonio Lotti (1667\u20131740) \u2013 Credo in F&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Credo | Crucifixus | Et resurrexit | Et unam sanctam | Et vitam venturi<\/p>\n\n\n\n<p class=\"has-text-align-center\">Antonio Vivaldi (1678\u20131741) \u2013 Sinfonia al Sancto Sepolcro<\/p>\n\n\n\n<p class=\"has-text-align-center\">Antonio Caldara (1670\u20131736) \u2013 <em>Missa dolorosa<\/em>&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Kyrie | Gloria | Credo | Sanctus | Benedictus | Agnus Dei<\/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&nbsp;<br><strong>JAN JAKUB MONOWID<\/strong> COUNTERTENOR<br><strong>JACEK SZPONARSKI<\/strong> TENOR&nbsp;&nbsp;<br><strong>DAWID BIWO<\/strong> BASS&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>THE CHAMBER CHOIR OF THE POLISH ROYAL OPERA<\/strong><\/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\"><strong>RENATA SZCZYPIOR<\/strong> CHOIR MASTER<\/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, POSITIVE ORGAN, 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. 1h<\/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>The 17th century in Italian music was a time of the birth and flourishing of the refined concertato style, also present in sacred music. However, alongside these innovative ideas, the tradition rooted in the works of the master from Palestrina remained very much alive. The equal status of these two contrasting styles is evident in [&hellip;]<\/p>\n","protected":false},"author":15,"featured_media":43523,"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":[],"cykle":[],"sezon":[105],"class_list":["post-43501","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","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>ITALIAN SACRED MUSIC - 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\/italian-sacred-music\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ITALIAN SACRED MUSIC - Polska Opera Kr&oacute;lewska\" \/>\n<meta property=\"og:description\" content=\"The 17th century in Italian music was a time of the birth and flourishing of the refined concertato style, also present in sacred music. 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