program - Misteria Paschalia

Transcription

program
1
VIII
festival
KrakOw
18–25 IV 2011
Photo: UMK
Ladies and Gentlemen:
The Misteria Paschalia Festival represents without doubt one of
the strongest and most valuable programming items in Kraków’s
wealth of cultural events. We love it for its wonderful music – the
opportunity to come into contact with the most distinguished
works created over the centuries for the occasion of Holy Week and
to grace the Feast of the Resurrection of the Lord – and for the fact
that it reveals to us the musical treasures of the Renaissance and
the Baroque. We are proud that, thanks to the Misteria Paschalia
Festival, Kraków has become a second home for many worldfamous artists. Through the Festival, such superb artists as Fabio
Biondi, Jordi Savall, Marc Minkowski, Ottavio Dantone, Philippe
Jaroussky and many, many others have become friends of our city
and continue to enjoy returning here.
I am immeasurably glad that with this year’s edition, the
group of musicians already familiar to Kraków has a chance to
significantly expand. For the Festival has now matured to the point
of becoming not only a place to meet unquestioned masters, but
also a center promoting new projects and rising talents in historical
performance. I am convinced that the new Misteria Paschalia
Debuts project will be a most compelling experience. I also
have no doubts that a faithful audience will be won by another
extraordinary Festival initiative – Misteria Paschalia Trance, the
essence of which is an unconventional presentation of Passion
themes from the contemporary perspective of distinguished
musicians normally active in popular music.
I wish you unforgettable musical experiences.
Jacek Majchrowski
Mayor of Kraków
5
Holy Monday
18 April
18 April
Holy Monday, 8:00 PM
Karol Szymanowski Philharmonic Hall in Kraków
ul. Zwierzyniecka 1
Les Grands Motets
Claire Debono, soprano
James Gilchrist, tenor
Aimery Lefèvre, baritone
Alain Buet, bass
Emmanuelle Haïm, conductor
Xavier Ribes, choirmaster
The Orchestra of Le Concert d’Astrée
David Plantier, concertmaster
Matthieu Camilleri, Céline Martel, Yuki Koike, Pierre-Eric Nimylowycz,
Giorgia Simbula, violin I
Johannes Pramsohler, Emmanuel Curial, Cécile Lucas, Isabelle Lucas,
Agnieszka Rychlik, violin II
Laurence Duval, Diane Chmela, Marta Paramo, Michel Renard, Delphine Millour,
Martha Moore, viola
Atsushi Sakaï, viola da gamba
Mathurin Matharel, Xavier Richard, Emily Robinson, bass violin
Ariane Lallemand, ’cello
Axel Bouchaux, double bass
Alexis Kossenko, Olivier Benichou, flute
Yann Miriel, Guillaume Cuiller, oboe
Philippe Miqueu, bassoon
Elisabeth Geiger, harpsichord, organ
The Choir of Le Concert d’Astrée
Anna Dennis, Elisabeth Baz, Delphine Cadet, Cécile Dalmon, Dorothée Leclair,
Isabelle Rozier, Virginie Thomas, soprano
Renaud Tripathi, Daniel Blanchard, Jean-Christophe Clair, Arnaud Le Dû,
Marcio Soares Holanda, countertenor
Ben Breakwell, Edouard Hazebrouk, Sébastian Monti, Pascal Richardin,
Michael Solomon Williams, tenor
Sydney Fierro, Jean-Gabriel Saint-Martin, Thomas van Essen, Pierre Virly, baritone
Pierre Bessière, Geoffroy Buffière, Christophe Sam, Jean-Marc Savigny, bass
8
Jean-Philippe Rameau
1683–1764
Quam dilecta
Deus noster refugium
Jean-Joseph de Mondonville
1711–1772
Sonata prima op. 3
Dominus regnavit
Concert broadcast live by Channel 2 of Polish Radio
With the support from the French Institute and Lille Métropole Communauté Urbaine
9
Claire Debono
Photo: From the artist’s archives
This singer from Malta is a graduate of the prestigious
Guildhall School of Music and Drama, where she
studied with Laura Sarti. Her repertoire includes
diverse operatic roles – from the part of Minerva in
C. Monteverdi’s Baroque opera Il ritorno d’Ulisse in
patria, through roles in Mozart (Despina in Così fan
tutte, Zerlina in Don Giovanni), to Anne Trulove in
I. Stravinsky’s The Rake’s Progress. She has toured
Europe and Japan, as well as performing at Lincoln
Center in New York with Les Arts Florissants, and
also with William Christie and Le Jardin des Voix.
Beyond this, she has had the opportunity to perform
with Le Concert Spirituel, Orchestre de Paris,
Concerto Köln, the guitar duo ¡Canto vivo! and the
London Sinfonietta. She has performed at Théâtre
Royal de la Monnaie, Théâtre des Champs-Elysées
in Paris, in Versailles, Lyon, Verona, Madrid, the
Aix-en-Provence festival and the Peralada Festival.
The artist’s plans for the immediate future include
participation in projects with Jean-Christophe
Spinosi (Mozart’s Die Zauberflöte at Théâtre des
Champs-Elysées and the Nice Opera), as well
as William Christie (F. Cavall’s Didone in Caen,
Luxembourg and Théâtre des Champs Elysées). She
is planning a recital in Brussels with pianist David
Lively, the program of which will include works by
F. Liszt. Debono records for EMI/Virgin Classics.
10
James Gilchrist
Collins Classics (sacred music by H. Schütz), and
Hyperion (sacred music by J. Kuhnau). He has
recently released albums with songs by Finzi (Linn
Records), When Laura Smiles (vocal works with lute
accompaniment, composed in the Elizabethan era),
as well as F. Schubert’s Die schöne Müllerin (Orchid
Classics).
Photo: Jim Four
Before devoting himself completely to singing,
James Gilchrist worked as a physician. Most often
engaged for concert projects, he feels right at
home in Baroque religious music (C. Monteverdi’s
Vespers, J. S. Bach’s cantatas, masses and passions,
lead roles in G. F. Handel’s oratorios). He also sings
newer repertoire, particularly works by B. Britten
(Serenade at the Sage, War Requiem). Though he
more rarely works in the opera, Gilchrist has created wonderful roles in such operas as Handel’s Acis
and Galatea (BBC Proms and Berlin Staatsoper),
H. Purcell’s King Arthur (English National Opera),
I. Stravinsky’s Oedipus Rex or R. Vaughan Williams’
Sir John in Love (Barbican/Radio 3), R. Strauss’
Ariadne auf Naxos, Britten’s Turn of the Screw, and
W. A. Mozart’s Così fan tutte and Zaide. During
his 15-year career, he has had the opportunity to
work with the most distinguished conductors, such
as: John Eliot Gardiner, Andrew Davis, Ton Koopman, Paul Goodwin, Philippe Herreweghe, Masaaki
Suzuki or Roger Norrington, their ensembles (Concert Spirituel, Concerto Köln, Collegium Vocale,
Academy of Ancient Music, The King’s Consort,
Bach Collegium Japan) as well as symphony orchestras all over the world. As an ardent lover and promoter of contemporary music, the artist has taken
active part in the world premières of K. Nystedt’s
Apocalypsis Joannis (Oslo Philharmonic), J. Tavener’s Total Eclipse (Academy of Ancient Music) and
H. Ottaway’s The Echoing Green (commissioned by
the Salisbury Festival). His recital programs also
include new compositions. Gilchrist has performed
in a duo with Malcolm Martineau, Stephen Varcoe,
John Constable and Anna Tilbrook (with this last
pianist, he performed R. Schumann’s Liederkreis,
G. Finzi’s Till Earth Outwears, and F. Poulenc’s
Metamorphoses in a concert broadcast on BBC
Radio 3), as well as with Alison Nicholls, and
recently with the Nash Ensemble (Wigmore Hall,
Bury St Edmunds Festival). He records for Chandos
(B. Britten’s Albert Herring, R. Vaughan Williams’
A Poisoned Kiss), EMI (S. Rachmaninov’s Vespers),
11
Aimery Lefèvre
Born 1983 in Bourges. Until 2000, Aimery Lefèvre
studied piano and organ performance as well as
singing at the Centre de Musique Baroque in Versailles, where he specialized in 17th- and 18th-century
music performance. He continued his education at
the Conservatoire National Supérieur de Musique
et de Danse in Lyon under the direction of Brian
Parsons, and then became a member of the Paris
Opera’s Atelier Lyrique. Lefèvre has collaborated
with such artists as Patrick Cohen-Akenine, Martin
Gester, Jean-Claude Malgoire, Hervé Niquet and
Christophe Rousset. The first opera role he performed was the male title role in H. Purcell’s Dido
and Aeneas, which he prepared under the direction
of Kenneth Weith. Beyond this, the artist has taken
part in the following productions: B. Britten’s The
Rape of Lucretia (Tours), W. A. Mozart’s Così fan
tutte (Rennes) and D. Cimarosa’s Il matrimonio
segreto (MC93 theater in Bobigny). Last season, he
debuted at the Paris Opera as Fiorello in G. Rossini’s Il barbiere di Siviglia under the baton of Bruno
Campanelli, as well as Momus in J.-P. Rameau’s
opera Platée, led by Marc Minkowski. Lefèvre has
performed in his homeland of France, as well as in
Luxembourg, Italy and Holland (Concertgebouw in
Amsterdam), with the accompaniment of Les Folies
Françoises, Les Paladins, Musiciens du Louvre, La
Simphonie du Marais (J.-B. Lully, Atys, CD) etc.;
as well as in solo recitals at the Athénée Théâtre
Louis-Jouvet, Auditorium du Musée du Louvre,
Villa Medici in Rome, Teatro alla Scala in Milan,
and Teatro la Fenice in Venice.
12
Alain Buet
After graduating from the Conservatoire National de
Région de Caen (Normandy) and the Conservatoire
National Supérieur de Musique in Paris, Alain Buet
honed his vocal technique under the direction of
Richard Miller. He has developed his solo career
with such conductors as Robert Weddle, JeanClaude Malgoire, Hervé Niquet, William Christie
and Martin Gester. Buet is a regular guest at major
concert halls and international festivals in Beaune,
La Chaise-Dieu, Nantes, l’Orne, Bonn, Lausanne,
Fez, Innsbruck, İstanbul, Cremona, Parma, Leipzig,
and Amsterdam (Concertgebouw). He possesses
a voice with a bright, warm sound, and performs
music from the 14th to the 20th centuries – both
secular and religious. The artist’s close collaboration
with Jean-Claude Malgoire has borne fruit in
his performances of numerous operatic roles in
such productions as: G. F. Handel’s Agrippina,
W. A. Mozart’s Le nozze di Figaro and Bastien und
Bastienne, and G. Puccini’s Gianni Schicchi. He has
also performed in M.-A. Charpentier’s opera David
et Jonathas under the direction of William Christie.
Alain Buet is the founder and member of the
ensemble Les Musiciens du Paradis. He presently
teaches voice at Conservatoire National Supérieur
de Musique et de Danse in Paris. His recordings
are to be found in the catalogs of the Glossa, Alpha,
Arion, K617, Zig-Zag and Opus 111 labels.
13
Emmanuelle Haïm
and Aeneas won the Echo Deutscher Musikpreis.
The artist is an honorary member of the Royal
Academy of Music; she has also received the titles
of Chevalier des Arts et des Lettres and, in 2009,
Chevalier de la Légion d’honneur.
After completing her degree in piano and organ
performance, Emanuelle Haïm took up instruction
in harpsichord performance in the studio of
Kenneth Gilbert and graduated at the top of her
class from the Conservatoire National Supérieur
de Musique et de Danse in Paris. A fascination
with vocal music induced her to make her first
attempts to lead choral ensembles at the Centre
de Musique Baroque de Versailles. Her talent was
quickly noticed, and Haïm soon began to take
part in projects of well-known artists, both as a
harpsichordist and as a conductor. She achieved
significant success with the Glyndebourne Touring
Opera, leading Handel’s opera Rodelinda in 2001,
as well as his oratorio Theodora two years later. It
is from this moment that her regular collaboration
with the Glyndebourne festival dates (including
C. Monteverdi’s L’Incoronazione di Poppea in
2008). The artist was the first woman to direct
the Chicago Lyric Opera (Handel’s Giulio Cesare,
2007). She has also collaborated with the City
of Birmingham Symphony Orchestra, Scottish
Chamber Orchestra, Deutsche Sinfonie-Orchester
Berlin, Hessischer Rundfunk in Frankfurt and
Berliner Philharmoniker. In 2000, she founded the
ensemble Le Concert d’Astrée, which specializes in
Baroque music performance. In the course of three
years, the ensemble gained the favor of audiences
around the world, from Paris to New York, and its
crowning achievement was the title of ensemble
of the year, granted by the jury of Victoires de la
Musique Classique. Since 2004, Le Concert d’Astrée
has been in residence at the opera theater in Lille,
where it presents concert versions of operatic works.
Emanuelle Haïm has collaborated with such artists
as Robert Carsen, Jean-François Sivadier, JeanLouis Martinoty, Robert Wilson, David McVicar,
Giorgio Barberio Corsetti, and Sandrine Anglade. In
2001, she signed an exclusive contract with Virgin
Classics; her albums Lamenti and Carestini received
Victoires de la Musique Classique distinctions
(2008, 2009), and her recording of Purcell’s Dido
14
Photo: Simon Fowler Virgin Classics
15
Le Concert d’Astrée
Tempo e del Disinganno, Pergolesi’s Stabat Mater,
W. A. Mozart’s Mass in C minor etc.). The choir,
led by Denis Comtet, takes part in large projects
or appears as a chamber ensemble; individual
vocalists also sing solo parts (madrigals in L’Orfeo).
In preparing staged productions, the ensemble has
collaborated with the following directors: Robert
Wilson, David McVicar, and Jean-Louis Martinoty.
A permanent contract with Virgin Classics, with
which the group has been associated for ten years,
has borne fruit in numerous recordings of Baroque
repertoire. For its recording achievements, the
ensemble has received prestigious awards and several
Victoires de la Musique Classique distinctions,
together with the title of best ensemble of the year.
Since 2001, Le Concert d’Astrée’s activity has been
supported by France Télécom Foundation; starting
in 2007, patronage of the group’s activity was taken
over by Mécénat Musical Société Générale. Its
further development is facilitated by the sponsorship
of the French government.
Photo: Frédéric Iovino
This group of superb singers and instrumentalists,
linked since 2000 by passion, common artistic
aims and temperament, is led by Emmanuelle
Haïm. Under her direction, the Baroque ensemble
has achieved international success in the course
of a mere three years. Aside from concerts in its
homeland of France (Opéra National du Rhin,
Théâtre de Caen, Bordeaux Opéra, Théâtre du
Châtelet, and Théâtre des Champs-Élysées in Paris),
the ensemble has performed at among other venues,
the Concertgebouw in Amsterdam, Barbican
Centre in London, Lincoln Center in New York and
Konzerthaus in Vienna, as well as at the Potsdam
festival and the Salzburger Festspiele. Le Concert
d’Astrée’s permanent headquarters are at the Lille
Opera, where the ensemble has presented concert
versions of such operas as G. F. Handel’s Tamerlano
(2004) and C. Monteverdi’s L’Orfeo (2005), as well
as oratorio and cantata works (Handel’s Il trionfo del
16
18
Holy Tuesday
19 April
19
19 April
Holy Tuesday, 8:00 PM
ul. Zwierzyniecka 1
Oratorio I
S. Elena: Gemma Bertagnolli, soprano
S. Macario: Vivica Genaux, soprano
Eustazio: Anna Chierichetti, soprano
Eudossa: Helena Rasker, alto
Draciliano: Roberto Abbondanza, bass
Fabio Biondi, concertmaster, conductor
Europa Galante
Fabio Ravasi, Carla Marotta, Elin Gabrielsson, violin I
Andrea Rognoni, Marino Lagomarsino, Silvia Falavigna, violin II
Stefano Marocchi, viola
Maurizio Naddeo, ’cello
Patxi Montero, double bass
Giangiacomo Pinardi, theorbo
Paola Poncet, harpsichord, positive organ
20
St. Helena, Cima de Conegliano
21
Leonardo Leo
1694–1744
Sant’Elena al Calvario
Recitativo: Oh come, amici, oh come
PARTE PRIMA
S. Macario
Aria: Amor, speranza, e fede
Sinfonia
S. Macario
Recitativo: Ecco, o pietosa Augusta
Recitativo: Oh di qual zelo ardente
S. Macario
S. Elena
Recitativo: Fortunato terreno
Aria: Raggio di luce
S. Elena
S. Elena
Aria: Sacri orrori, ombre felici
Recitativo: Forse l’ora è vicina, in cui s’avveri
S. Elena
Eustazio
Recitativo: Volgiti, Augusta, e mira
Recitativo: Forse al tuo braccio
Draciliano, S. Elena
Draciliano
Coro: Di quanta pena è frutto
Aria: Del Calvario già sorger le cime
Recitativo: Qui chi governa il tutto
Draciliano
Eudossa, Eustazio
Recitativo: Non è, non è, compagni
Coro: Di quanta pena è frutto
S. Elena
Recitativo: Anime elette, ah chi di voi m’addita
Recitativo: Sarà vero il presagio
S. Elena, Eustazio
Eustazio
Recitativo: Alla barbarie altrui
Aria: In te s’affida e spera
Eudossa
Eustazio
Aria: Veggo ben io perché
Recitativo: Elena, che si tarda?
Eudossa
Eudossa, S. Elena, tutti
22
Recitativo: Chi mai con tante prove
PARTE SECONDA
Eudossa
Recitativo: Cessate, olà, cessate
Aria: Sul terren piagata a morte
S. Elena, S.Macario, Draciliano, Eudossa
Eudossa
Aria: Nel mirar quel sasso amato
Recitativo: Elena augusta, amici
S. Elena
Eustazio, S. Elena, Draciliano, Eudossa
Recitativo: O marmo glorioso, emulo al seno
Recitativo: Fermati, a noi
S. Macario
Eustazio
Aria: In te s’ascose
S. Macario
Aria: Dal nuvoloso monte
Eustazio
Recitativo: Ceda, ceda una volta
Recitativo: Al Ciel diletta Augusta
S. Elena, S. Macario, Eudossa
S. Macario
Recitativo: Ma qual de’ tronchi
Aria: Al fulgor di questa face
Eustazio, S. Macario, S. Elena
S. Macario
Duetto: Dal tuo soglio luminoso
Recitativo: Questo è pur dunque il sacrosanto
Legno
S. Elena, Eudossa
S. Elena
Recitativo: Signor, de’ falli nostri
Recitativo: Lasciami solo
Draciliano
S. Elena
Aria: Si scuoteranno i colli
Coro: Fedeli, ardire
Draciliano
23
24
Gemma Bertagnolli
The path to an international career was opened for
Gemma Bertagnolli by successes at the AsLiCo and
Francesco Viñas competitions. She has performed
on the stages of opera theaters and at festivals all over
the world, including: Teatro alla Scala, Teatro La
Fenice, Théâtre des Champs-Élysées, opera houses in
Turin, Rome and Zürich, the Accademia Nazionale
di Santa Cecilia, Concertgebouw in Amsterdam,
the Maggio Musicale Fiorentino, Musikfestspiele
in Potsdam, Salzburger Festspiele and Festival
Pergolesi in Jesi. Bertagnolli performs parts in
operatic works from the Classical era as well as the
Italian bel canto; most often, however, she draws
upon the Baroque repertoire. She has collaborated
with such artists as Rinaldo Alessandrini, Marc
Minkowski, René Jacobs, Ivor Bolton, Ottavio
Dantone, Giovanni Antonini, Fabio Biondi and their
ensembles. Beyond this, she performs solo parts in
oratorio and cantata works, from the Baroque era
as well as the late 19th and early 20th centuries. She
has sung under the direction of the following artists:
Roberto Abbado, Bruno Bartoletti, Maurizio Benini,
Semyon Bychkov, Diego Fasolis, Gabriele Ferro,
Danielle Gatti, Gianandrea Gavazzeni, Gianluigi
Gelmetti, Fabio Luisi, Lorin Maazel, Zubin Mehta,
Riccardo Muti, Daniel Oren, Wolfgang Sawallisch,
Andreas Spering, and Simone Young. Bertagnolli
has taken part in several recordings of works by
A. Vivaldi (Orlando finto pazzo with the Academia
Montis Regalis under the direction of Alessandro
de Marchi, La verità in cimento with Ensemble
Matheus and Jean-Christophe Spinosi, Vespri
per l’Assunzione di Maria Vergine with Concerto
Italiano under the direction of Rinaldo Alessandrini
etc.), which were released in a special edition
on the Naïve label; and also in recordings of solo
parts from V. Bellini’s La Sonnambula with Cecilia
Bartoli and Juan Diego Florez (Decca), Pergolesi’s
Stabat Mater with Concerto Italiano (Naïve),
E. Cavalieri’s Rappresentazione di Anima e di Corpo
and O. Respighi’s Liriche da camera (Stradivarius),
as well as F. Mendelssohn’s Symphony no. 2 (RS).
25
Vivica Genaux
not only with a beautiful voice, but also with acting
talent, which means that she specializes in opera
repertoire, with particular emphasis on Italian bel
canto. She has over 30 roles to her credit. Among
her favorite characters are Rosina, Angelina and
Isabella, all from Rossini’s operas. In the last of
these roles, she debuted successfully on the opera
stage in 1994 at Opera Florentine, which resulted
in propositions to appear in the role of Isabella at
the Opéra National de Paris and the San Francisco
Opera. The artist has been hosted by the Bayerische
Staatsoper, Théâtre des Champs-Elysées, Carnegie
Hall and the Teatro Municipal in Santiago. In 2007,
she debuted at the New York City Opera and was
presented with the Christopher Keene Award; the
next year, the Pittsburgh Opera honored her with
the Mecenas Award. Thereby, Genaux joined the
company of such distinguished artists as Dame
Joan Sutherland, Beverly Sills, Marilyn Horne,
Stephanie Blythe, Shirley Verrett, Jake Heggie and
Terrence McNally. She often performs accompanied
by such early music ensembles as: Akademie für
Alte Musik, Europa Galante, La Cetra, Les Talens
Lyriques, Orchestra Barocca Modo Antiqua,
Concerto Köln. Vivica Genaux records for Virgin
Classics: Bel Canto Arias – Rossini, Donizetti with
John Nelson and Ensemble Orchestral de Paris;
Vivaldi’s La Santissima Trinità, Bajazet and Ercole
su’l Termodonte (most recent, 2010/2011) with
Fabio Biondi and Europa Galante; Handel & Hasse
Arias and Cantatas with Les Violons du Roy; as
well as for Harmonia Mundi (among other works,
Handel’s Rinaldo with René Jacobs); many discs
featuring her voice have won Grammy nominations.
In 2004, she was the subject of Stefan Pannen and
Claus Wischmann’s documentary film A Voice out
of the Cold, which has been available on DVD since
2007. In 2009, Genaux appeared at Theater an der
Wien, where for the first time she sang the title role
in Rossini’s Tancredi (under the direction of René
Jacobs) as well as the part of Ernesto in Haydn’s
Il mondo della luna (with Nikolaus Harnoncourt) –
the concert was recorded and released on DVD in
October 2010 by the Unitel Classica/C major label.
Photo: Christian Steiner, Virgin Classics
Regardless of the recognition she has enjoyed for
upwards of dozen years, Vivica Genaux continues
to hone her skills with Claudia Pinza. She is active
in the Ezio Pinza Council for American Singers of
Opera. In 1997, she won the prestigious Aria award;
and two years later, at the Dresden Music Festival,
was acclaimed as artist of the year. Genaux is gifted
26
Anna Chierichetti
At age five, Anna Chierichetti began instruction
in piano performance. She studied singing and
chamber music in Milan at the Verdi Conservatory,
from which she graduated at the top of her class.
During her studies, Chierichetti took part in master
classes (E. Battaglia, S. Tuzzi, R. Celletti, L. Gencer,
R. Scotto, E. Ameling), as well as voice competitions,
reaching the final many times and winning 1st Prizes
at the Festival della Lirica in Sanremo and the
AsLiCo. She debuted in 1995 as Adina in G. Donizetti’s L’Elisir d’amore at Circuito Lombardo, where
she later appeared in productions of G. Verdi’s Rigoletto and Falstaff, as well as W. A. Mozart’s Così fan
tutte. This artist has been hosted by opera theaters
and festivals all over the world, presenting roles in
operatic works from the Baroque to the expressive
works of R. Strauss and R. Wagner. Among her
more important achievements are performances at
Teatro alla Scala (R. Strauss’s Die Frau ohne Schatten, A. Salieri’s Europa riconosciuta and H. Purcell’s
Dido and Aeneas, and F. Vacchi’s Teneke under the
direction of Roberto Abbado) and the Paris Opera
(G. F. Handel’s Alcina); along with her debuts at the
Salzburger Festspiele under the direction of Fabio
Biondi, as well as at Teatro Real in Madrid and Covent Garden as part of a tour with John Eliot Gardiner
and his ensemble. Chierichetti has also collaborated
with Rafael Frühbeck de Burgos, Christopher Hogwood and Riccardo Muti. For the audience at Festival d’Aix-en-Provence, she prepared madrigals by
C. Monteverdi; at the Accademia Nazionale di Santa
Cecilia in Rome, she sang J. S. Bach’s Magnificat;
and at the Concertgebouw in Amsterdam, she took
part in a concert performance of the opera Falstaff.
The artist became known to Kraków music lovers in
2009, when she appeared as a guest artist in a production of W. A. Mozart’s Don Giovanni.
27
Helena Rasker
After graduating with honors from the Royal
Conservatory of Music in The Hague, Helena
Rasker honed her technique at the Tanglewood
Music Center in the United States. Presently
supervising the development of her talent is Diane
Forlano, with whom Rasker studies in London.
The singer’s repertoire is diverse and extensive –
from Baroque to contemporary. She has sung solo
parts in J. S. Bach’s Mass in B minor and Passion
According to St. Matthew, as well as in oratorios by
A. Vivaldi, G. F. Handel, F. J. Haydn, W. A. Mozart,
F. Mendelssohn, A. Dvořák and K. Szymanowski,
as well as operatic roles in A. Schönberg’s Moses
und Aron (co-produced by the Netherlands Opera
and the Salzburger Festspiele, under the direction
of Pierre Boulez), Mozart’s Die Zauberflöte and
C. W. Gluck’s Orfeo ed Euridice in a concert
version directed by Christian Zacharias at the
Mozartfest in Würzburg, as well as H. Purcell’s
Dido and Aeneas at the Amsterdam Bach Festival.
The artist has also performed, among other works,
M. Mussorgsky’s Songs and Dances of Death with
the Calefax Ensemble; D. Shostakovich’s Six Poems
by Marina Tsvetaeva op. 143a; S. Gubaidulina’s
Night in Memphis with the Schönberg Ensemble
under the direction of Reinbert de Leeuw at the
Concertgebouw in Amsterdam, and Galgenlieder
with the Rotterdam Philharmonic; G. Mahler’s
Kindertotenlieder; R. Wagner’s Wesendonck-Lieder;
A. Schönberg’s Pierrot lunaire; as well as many
works by L. Nono which have been recorded on CD
(Prometeo at the Salzburger Festspiele under the
direction of Ingo Metzmacher and Guai ai gelidi
mostri with André Richard). She has collaborated
with such artists as Ken Ichiro Kobayashi, Marc
Minkowski, the orchestral ensembles of European
opera theaters, the Orquestra Gulbenkian and Les
Musiciens du Louvre-Grenoble, with the last of
which she recently made a tour.
28
Roberto Abbondanza
then of L’Accademia Nazionale di Santa Cecilia in
Rome. Abbondanza’s participation in the recording
of a film version of G. Verdi’s Rigoletto with stage
director Jean-Pierre Ponnelle launched his artistic
career. Interested in performance of the art song
repertoire, he took up studies at the Mozarteum in
Salzburg and the Musikhochschule in Cologne with
Hartmut Höll. He specializes, however, in opera
singing, and early music in particular. The artist
has been a finalist in the following competitions:
the Toti Dal Monte in Treviso, the Sperimentale in
Spoleto, the Laboratorio Lirico in Alessandria and
L’Accademia Barocca in Rome. He collaborates
regularly with Fabio Biondi and Europa Galante,
Rinaldo Alessandrini and Concerto Italiano,
perform with such conductors as Zubin Mehta,
Jordi Savall, Ennio Morricone et al. He performs on
the world’s most important stages, and has appeared
as a guest artist at concerts in Paris, Bordeaux,
Lyon, Lisbon, Barcelona, Madrid, Rome, Venice,
Milan, Monte Carlo, Oslo, New York, Washington,
Toronto, Mexico City, Tokyo, Kyoto, Singapore,
São Paulo, İstanbul, Taipei and Hong Kong.
Roberto Abbondanza’s interests in contemporary
music have borne fruit in performances of works
by, among others, S. Barber, L. Bernstein, B. Britten,
C. Boccadoro, F. Donatoni, L. Nono, A. Schönberg,
I. Stravinsky, and P. Glass. Last season, he
performed mainly on stages in his homeland of
Italy, preparing a wide range of roles in works
including Mozart’s Così fan tutte (Terni, Narni –
Operaincanto), Puccini’s Tosca (Stagione Estiva
Teatro San Carlo in Naples) and Strauss’ Salome
(Teatro Comunale in Florence). He also took part
in a staging of C. Monteverdi’s Il combattimento
di Tancredi e Clorinda under the direction of
Rinaldo Alessandrini in Copenhagen, which was
broadcast by Danish radio and television. The artist
has made many recordings for Virgin, Opus 111,
Naxos, Stradivarius, Dynamic, Tactus and Fonè.
His recording of A. Scarlatti’s oratorio Caino was
honored with a Diapason d’Or, while his recording
of Il combattimento di Tancredi e Clorinda won the
Choc de l’Année award in 1999.
Born and educated in Rome, Roberto Abbondanza
studied vocal techniques under the direction of
Isabel Gentile. At a very young age, he became a
member of the RAI radio and television choir, and
29
Fabio Biondi
Fabio Biondi began studying violin performance
at the age of five. He debuted at age 12 with the
RAI Symphony Orchestra; four years later, he
played violin concerti by J. S. Bach at the Wiener
Musikverein. The artist has collaborated with La
Capella Reial de Catalunya, Musica Antiqua Wien,
Il Seminario Musicale, La Chapelle Royale and Les
Musiciens du Louvre, who play Baroque music on
period instruments. A turning point in his artistic
career came in 1990, when he founded Europa
Galante, which is presently one of the leading
ensembles specializing in historical performance
practice. Biondi, who numbers among the pioneers
of performance on original instruments, combines
the instincts of a researcher with the temperament
of a leader. His interpretations of Italian music,
especially the works of Vivaldi, have blazed new trails
in early music performance. The artist performs
successfully as a soloist, chamber musician and
conductor. Together with his ensemble, he has been
honored for his artistic activity by the Associazione
Nazionale dei Critici Musicali (2002 and 2008).
Since 2005, he has held the post of artistic director
for early music at the Stavanger Symfoniorkester;
and last season, he became permanently associated
with the Orchestre de Chambre de Lausanne.
Biondi has also collaborated with the Orchestra
dell’Accademia Nazionale di Santa Cecilia in
Rome, Orchestre National de Montpellier, Mahler
Chamber Orchestra, Orquesta Ciudad de Granada,
Mozarteum-Orchester Salzburg et al. As a soloist
and chamber musician, he has performed at Cité
de la Musique in Paris, Hogi Hall in Tokyo and
Wigmore Hall in London. He has made several
dozen recordings for leading labels; his very
first recording (A. Vivaldi’s Le quattro stagioni),
made for Opus 111, received the most important
recording industry prizes: Premio Cini, Choc de la
Musique, Diapason d’Or, Diapason d’Or de l’Année
en France, RTL Prize, etc. Biondi plays violins made
by Carlo Ferdinando Gagliano from 1766, and by
Gofredo Cappa Saluzzo from 1690.
30
Photo: Satirino
31
Europa Galante
the ensemble signed a contract with Virgin Classics.
This bore fruit in the release of over a dozen discs,
every one of which has created a great stir among
the world’s music critics. Recent recordings of works
by Vivaldi made for Virgin Classics – Pyrotechnics,
containing arias in the rendition of V. Genaux (from
2009), as well as Ercole su’l Termodonte (from 2010) –
have won enormous critical recognition. In February
of this year, the album La stravaganza with concerti
by the Red Priest was released. The group’s artistic
activity has been recognized twice (2002 and 2008)
by the Italian Associazione Nazionale dei Critici
Musicali, which gave it special commendations.
For this season, the ensemble has planned a tour
of Sweden, as well as performances in Switzerland,
Spain, Great Britain, France, Germany, Holland and
the United States (concerts at Carnegie Hall in New
York, Disney Hall in Los Angeles, etc.).
Photo: Satirino
This ensemble was founded in 1990 by Fabio Biondi. It
has concertized all over the world at venues including
Teatro alla Scala in Milan, the Concertgebouw
in Amsterdam, Royal Albert Hall in London, the
Wiener Musikverein, Lincoln Center in New York,
Sydney Opera House, Teatro Real in Madrid and
Grande Auditório Gulbenkian in Lisbon, as well
as in Australia and Asia. Europa Galante’s flexible
structure enables it to perform both large forms
(operas, oratorios) and smaller ones (chamber music
compositions). The orchestra has performed several
dozen modern premières of compositions from the
17th and 18th centuries. A special place in Europa
Galante’s repertoire is occupied by Italian music –
by Vivaldi, the Scarlattis, Caldara, Boccherini et al.
After years of collaboration with the Opus 111 label,
32
33
34
Holy Wednesday
20 April
35
20 April
Holy Wednesday, 8:00 PM
Church of St. Catherine of Alexandria
ul. Augustiańska 7
La Tragédie Cathare
Montserrat Figueras, voice, zither
Pascal Bertin, countertenor
Lluís Vilamajó, tenor
Marco Scavazza, baritone
Jordi Savall, conductor
La Capella Reial de Catalunya
David Sagastume, countertenor
Francesc Garrigosa, tenor
Jordi Ricart, baritone
Daniele Carnovich, bass
René Zosso, recitation (Latin, French)
Georges Besombes, recitation (Occitan)
Hespèrion XXI
Jordi Savall, fidel, lyre, rebab
Andrew Lawrence-King, medieval harp, psalterium
Dimitri Psonis, santur, guitarra moresca
Hakan Güngör, kanun
Driss el Maloumi, Arabic lute
Pierre Hamon, flutes
Nedyalko Nedyalkov, kaval
Gaguik Mouradian, kamancha
Haïg Sarikouyoumdjian, ney, duduk
René Zosso, hurdy-gurdy
Christophe Tellart, hurdy-gurdy, bagpipes
36
Michaël Grébil, medieval lute, ceterina
Lluis Coll, cornet
Béatrice Delpierre, shawm
Elies Hernandis, trombone
Pedro Estevan, David Mayoral, percussion
Jordi Savall, Montserrat Figueras, project music concept
Anne Brenon, Antoni Dalmau, script and historical sources
Anne Brenon, Pilar Jimenez, Manuel Forcano, Francesco Zambon, Antoni Dalmau,
Sergi Grau, collaboration
Project Sponsorship
This project has been funded with support from the European Commission.
This publication [communication] reflects the views only of the author, and the Commission cannot
be held responsible for any use which may be made of the information contained therein.
37
The Forgotten Kingdom
The Tragedy of the Cathars
PART I
The Emergence and Heyday of Catharism
The Rise of Occitania
ca. 950–1204
1. The Origins of Catharism: East and West: 950–1099
950 Origins: The Bogomils
Traditional Bulgarian music*
1040 Occitania gives refuge to Jews forced to flee Al-Andalus
Jewish song from the Kabbalah, Sefer Yetzirah:
Three Principles: Aleph, Mem, Shin
1049 Council of Reims condemns heretics
Payre sant°
1054 Schism between Rome and Constantinople
Anonymous Byzantine troparion: En to stavro pares tosa
1099 First Crusade to the Holy Land. Occitan troops commanded by Raymond de Saint-Gilles,
Count of Toulouse, occupy the southern part of Jerusalem.
Crusade Fanfare*
2. The Rise of Occitania: 1100–1159
1100 Occitania, the Christian mirror of Al-Andalus
Anonymous: Andalusian dance*
38
1117 The time of the Troubadours and ‘fin’amor’
Guilhem de Peitieu (1071–1126): Pos de chantar
1143 Letter of Everwin of Steinfeld to Bernard de Clairvaux
Epistola ad patrem Bernardum°
1157 Death of Raimon Berenguer IV. Council of Reims opposes heresy
Anonymous: Mentem meam ledit dolor
3. The Expansion of Catharism: 1160–1204
1167 Cathar Council at Saint-Félix (Lauragais). Burgundian Cathars burned at the stake
en masse at Vézelay
Cathar prayer: Consolamentum
1204 Guilhabert de Castres ordains Esclarmonde de Foix at Fanjeaux
Comtessa (Beatritz) de Dia (1140–1212): A chantar m’er de so q’ieu no volria
1204 Disputation of Carcassonne between Cathars and Cistercian legates led by Peter I
Ego enim scio…*
4. Imminent Confrontation: 1204–1208
1207 Preparations for the Crusade
Guilhem de Tudèla (12th c.): Cant l’apostolis saub
10 March 1208 Innocent III proclaims the First Crusade in Christian lands against the
Albigensians
Nous exhortons…°
1208 Pope Innocent III excommunicates Raymond VI, Count of Toulouse
Anonymous: Quant ai lo mon consirat
39
PART II.
The Albigensian Crusade
Persecution, Diaspora and end of Catharism
1209–1463
5. The Albigensian Crusade: 1209–1229
1209 Beginning of Crusade
Fanfares and calls to battle*
22 July 1209
Siege and massacre of Béziers
Guilhem de Tudèla: Le barnatges de Fransa
10 November 1209
Planh for the death of Raymond Roger Trencavel
Guilhem Augier Novella (12th/13th c.) / Giraut de Bornelh (ca. 1138–1215):
Quascus plor e planh
October 1213
Defeat in Battle of Murèth and death of Peter I the Catholic
Raimon de Miraval (1135/1160–ca. 1220): Aissi cum es genser Pascors
25 June 1218
Death of Simon de Montfort
Anonymous: L’Epictafi de Simon de Montfort
6. The Inquisition: Persecution of Cathars and Elimination of Catharism 1230–1300
1233 Pope Gregory IX institutes the Inquisition to combat heresy
Fanfare*
Sirventès opposes the false clerics (priests)
Guilhem Figueira (13th c.): D’un sirventes far
40
1252 Papal bull Ad exstirpandam sanctions use of torture
Ad exstirpandam°
Sirventès reproaches God at the Last Judgment
Peire Cardenal (ca. 1180–ca. 1278): Un sirventes novel vuelh comensar
1278 200 Cathars burned at the stake in the Arena of Verona
Cathar prayer: Pater noster
7. Catalonian Diaspora and end of Eastern Cathars: 1309–1453
1309 Jacme and Guilhem Autier burned at the stake with other Cathars
Giraut de Bornelh (ca. 1138–1215): No puesc sofrir la dolor*
1315 Guilhem Bélibaste goes into exile in Catalonia
Es pas estonant*
1453
Constantinople falls to the Ottomans (and Bosnia – 1463)
End of Eastern Catharism
Turkish march*
The Apocalypse According to the Cathar Gospel of Pseudo-John
Song of the Occitan Sybil: Al jorn del judisi
* instrumental works
° recitations
41
Montserrat Figueras
Photo: Nomah
A distinguished interpreter of a broad vocal repertoire encompassing the Middle Ages, Renaissance
and Baroque eras, Montserrat Figueras was born in
Barcelona. She began her career in performances
with Ars Musicae and Enrique Gispert, studying
singing with Jordi Albareda. In 1966, she began
training in early music vocal techniques, and two
years later, took up studies at the Schola Cantorum
Basiliensis and at the Academy of Music in Basel.
Together with her husband, she has founded the following ensembles: Hespèrion XXI, La Capella Reial
de Catalunya and Le Concert des Nations. Montserrat Figueras has taken part in the most important
music festivals in Europe, America and Asia. She
has made over 70 recordings, winning numerous
awards, among others the Grand Prix de l’Académie
du Disque Français, the Edison Classic Award and
the Grand Prix de la Nouvelle Académie, as well as
two Grammy Award nominations. One of her recording projects together Jordi Savall – Jérusalem,
La Ville des deux Paix: La Paix céleste et la Paix terrestre – has attained great critical recognition and
won the Orhphée d’Or de l’Académie du Disque
Lyrique in 2008, as well as the Caecilia and Midem
Classical Award in 2010. The singer received the
French government’s Ordre des Arts et des Lettres
decoration (2003), and was named an Artist for
Peace (UNESCO, 2008).
42
Pascal Bertin
At age 11, Pascal Bertin entered the Paris boys’ choir
led by Roger de Magnée. In 1988, he won 1st Prize
for interpretation of Baroque vocal music at the
Conservatoire National Supérieur de Musique et
de Danse in Paris. The artist has been a member
of vocal ensembles specializing in performance
of medieval music and Renaissance polyphony.
He has had the opportunity to perform under
the direction of Christophe Rousset (in operas by
G. F. Handel: Richard the First – as Oronte, Rinaldo
– Eustazio, Admetus – Trasimede); Marc Minkowski
(Tolomeo in Handel’s Julius Caesar in Amsterdam,
2001); Jordi Savall, Philippe Herreweghe, Sir John
Eliot Gardiner, Sigiswald Kuijken, Hervé Niquet
and their ensembles. Since 1996, together with
Monique Zanetti, Yasunori Imamura and Guido
Ballestraccim, he has been part of the Fons Musicae
ensemble; their first recordings (Lambert, Bononcini,
Steffani, Caldara) have met with the recognition of
music critics all over the world. The recordings of
the jazz vocal ensemble Indigo, founded by Bertin
ten years earlier, have been nominated three times
for the Victoires de la Musique award. The artist
has taken part in the recording of nearly 50 works
from various eras; in 1995, together with Andreas
Scholl and Dominique Visse, he recorded the disc
Les Trois Contre-Ténors for Harmonia Mundi. It
contains famous tenor opera and musical arias, as
well as popular music hits.
43
Lluís Vilamajó
Photo: Vico Chamlo
Having begun his musical training at the Escolanía
de Montserrat, Lluis Vilamajó continued his education under the direction of Margarita Sabartés and
Carmen Martínez at the Conservatorio Municipal
Superior de Música in his hometown of Barcelona.
Permanently associated with La Capella Reial de
Catalunya and Hespèrion XXI, he took part in the
most recent editions of the Misteria Paschalia and
Al Ayre Español festivals. The artist has also performed with Les Saqueboutiers de Toulouse, Ensemble La Fenice, Ensemble Baroque de Limoges
and Il Fondamento. He has concertized in many
countries of Europe, the United States, Mexico
and Israel. Vilamajó often performs solo parts in
oratorio and cantata works; he has sung, among
other works, J. S. Bach’s Magnificat, Passions and
Mass in B minor; W. A. Mozart’s Requiem; G. Puccini’s Messa di Gloria; F. J. Haydn’s Creation and
C. Debussy’s L’Enfant prodigue, under the direction of such artists as Salvador Brotons, Pierre Cao,
Jordi Casas, Juan José Mena, Antoni Ros-Marbà,
Manel Valdivieso, Andrew Parrott, László Heltay,
Salvador Mas, Ernest Martínez Izquierdo, Rinaldo
Alessandrini, Attilio Cremonesi, Wieland Kuijken,
Jordi Mora, Nicholas McGegan, Paul Dombrecht,
Reinhard Goebel, Christophe Coin, Christopher
Hogwood and André Marcon. He has recorded for
the following labels: Astrée Audivis, Alia Vox, Fonti
Musicali, Sony Classical and Deutsche Harmonia
Mundi.
44
Marco Scavazza
and tuning. In the area of chamber music, he trained
under Erik Battaglia. Because Scavazza specializes
in early music, he has had the opportunity to
collaborate with such artists as Jordi Savall, Andrew
Lawrence King, Kees Boeke, Sigisvald and Barthold
Kuijken, Claudio Abbado, Rinaldo Alessandrini,
Diego Fasolis and Fabio Biondi, taking part in
festivals all over the world, including the Festival di
Musica Antica at the Teatro Olimpico in Vicenza,
Festival Barocco in Viterbo, Musica e poesia in San
Maurizio, Festival Monteverdiano in Cremona,
Festival dei Saraceni in Mondovì, Música de los
Siglos de Oro in Madrid, Festival de Musique
Ancienne in Ribeauville, Boston Early Music
Festival, Connections Musicians & Poets in Chicago
and Festival van Vlaanderen. Since 1998, he has led
the Coro Polifonico Città di Rovigo, from which
the members of his recently-founded and thriving
chamber vocal ensemble Nuova Accademia degli
Addormentati are taken. In 2006, he appeared
on the opera stage for the first time as Masetto
(W. A. Mozart’s Don Giovanni) with La Petite
Bande under the direction of Sigisvald Kuijken in
Beaune and at the Concertgebouw in Bruges; two
years later, he sang in F. Cavalli’s La virtù dei strali
d’Amore led by Biondi in Venice and Florence. In
September 2009, he debuted at Teatro alla Scala in
C. Monteverdi’s L’Orfeo staged by Robert Wilson
under the baton of Alessandrini; the artist has also
recorded this work, as well as A. Vivaldi’s Vespri
per l’Assunzione di Maria Vergine for the Naïve
label, accompanied by Concerto Italiano under his
direction. Together with Cantica Symphonia and
Giuseppe Maletto, he received five Diapasons d’Or
for recordings including G. Dufay’s Quadrivium,
which was also awarded a Choc de la Musique (2005),
was well as A. Busnois’ L’Homme armé (Glossa).
Marco Scavazza was also the winner of Premio
Amadeus 2008, which he received for his recording
of Orlando di Lasso’s Prophetiae Sibyllarum. He is
also involved with newer repertoire and has taken
part in recordings of C. Ambrosini’s Passione
secondo Marco (for the Tractus label) as well as
L. Mosci’s Mister Me (DVD, Edizioni L’Unità).
Having begun his musical education at a young age,
Marco Scavazza graduated from the Conservatorio
Statale di Musica in Rovigo, where he studied
French horn performance and singing, as well as
completing a course in keyboard instrument repair
45
David Sagastume
Born 1972 in Vitoria, capital of the Basque country
in Spain, David Sagastume completed an honors
degree in ’cello performance at the Conservatorio
Superior de Música Jesús Guridi in his hometown.
He also has training in piano, viola da gamba and
harpsichord performance, as well as composition.
As an instrumentalist, he performed with the
Conservatorio Jesús Guridi ensemble, the Joven
Orquesta de Euskal Herria and the Orquesta
Sinfónica de Euskadi. At the same time, he studied
voice under Isabel Álvarez and Carlos Mena.
He has collaborated with such ensembles as La
Capella Reial de Catalunya, La Capilla Peñaflorida,
Orquesta Barroca de Sevilla, Ministriles de Marsias,
Camerata Iberia, Orquesta Barroca de Salamanca
and Orquesta de Cámara de Galicia, with which
he has made many recordings and participated
in music festivals in various parts of the world.
Last year, he appeared in Kraków at the Misteria
Paschalia festival, performing in the La Ruta de
Oriente project under the direction of Jordi Savall.
46
Francesc Garrigosa
Photo: Eduardo Gomez
Initially trained in singing, piano and French horn
performance at the Escolania de Montserrat in
his hometown of Barcelona, Francesc Garrigosa
continued his voice studies at the Guildhall School of
Music and Drama in London Since his opera debut
at the Gran Teatre del Liceu in Barcelona 1991,
the artist has been hosted by the most renowned
concert halls, including Teatro Real and Teatro
de la Zarzuela in Madrid, La Fenice in Venice,
the Concertgebouw in Amsterdam, the Wiener
Konzerthaus, Royal Festival Hall in London, Teatro
Colón in Buenos Aires, Carnegie Hall in New York
and the Sydney Opera; he has concertized with such
ensembles as the Orquesta Nacional de España,
Israel Chamber Orchestra, Wiener Akademie, Le
Concert des Nations, Montreal Symphony, Scottish
Chamber Orchestra, Royal Philharmonic, Orfeón
Donostiarra and Royal Chorus Society. He has sung
in operas by such composers as W. A. Mozart (Die
Zauberflöte, Le nozze di Figaro) and I. Stravinsky
(The Rake’s Progress, The Wedding), as well as
in oratorios including G. F. Handel’s Messiah;
F. J. Haydn’s Creation, The Seasons and Stabat Mater;
F. Mendelssohn’s Symphony no. 2 ‘Lobgesang’;
E. Elgar’s The Dream of Gerontius; J. S. Bach’s Mass
in B minor and Passion According to St. John; and
Dvořák’s Stabat Mater. Garrigosa has worked
with the most eminent conductors, such as: Frans
Brüggen, Charles Dutoit, Christopher Hogwood,
Renè Jacobs, Ton Koopman, Sir Neville Marriner,
David Parry and Jordi Savall, under whose direction
he also performed last year at the Misteria Paschalia
festival. He has taken part in recordings of, among
other works, I. Albéniz’ Pepita Jiménez, under the
direction of Josep Pons; B. Aliotti’s Il Sansone and
Monteverdi’s Vespro della Beata Virgine, under the
direction of Gabriel Garrido; M. de Falla’s Atlantida,
V. Martin y Solera’s Una cosa rara and Monteverdi’s
Orfeo, under the direction of Jordi Savall. Since
2003, he has taught singing at the Escola Superior
de Música de Catalunya (EMUC) in Barcelona.
47
Jordi Ricart
Born in Barcelona, Jordi Ricart received a musical
education in piano and violin performance as
well as voice at the Escolania de Montserrat; and
in 1982, began voice studies with Montserrat
Pueyo at the Conservatorio Superior de Música
in Barcelona. He specializes in performance of
Romantic art song repertoire and early music, in
particular large oratorio and cantata forms – works
by J. S. Bach and G. F. Handel, as well as L. van
Beethoven, F. J. Haydn, J. Brahms, F. Schubert et
al. The artist has taken part in stagings of Baroque
operas, including such works as G. F. Handel’s Acis
and Galatea, G. P. Telemann’s Der Schulmeister,
D. Cimarosa’s Il matrimonio segreto and Il maestro
di capella, W. A. Mozart’s Die Zauberflöte and Don
Giovanni, and G. Rossini’s Il barbiere di Siviglia.
He has performed in the United States, Canada,
Mexico, Israel and Japan, and his concerts on the
European continent have, not infrequently, been
broadcast by radio and television stations. He has
collaborated with La Capella Reial de Catalunya, El
Concierto Español and Orquesta Barroca Catalana,
the resulting in recordings for Deutsche Harmonia
Mundi, Harmonia Mundi Ibérica and Alia Vox.
He received the Prix National de Musique for his
performance of A. de Literes’s Jupiter y Semele.
48
Daniele Carnovich
Initially trained in transverse flute performance at
the conservatory in Padua, Daniele Carnovich then
studied composition and singing. He began his concert activity in 1981. His debut on the opera stage
(Gran Teatre del Liceu in Barcelona) was in the role
of Charon in C. Monteverdi’s L’Orfeo. As a soloist,
the artist has taken part in the most famous early
music festivals in Europe, accompanied by such
ensembles as The Consort of Musicke, Il Giardino
Armonico and Ensemble Chiaroscuro. He has performed under the direction of Franz Brüggen, Andrew Parrott, Alan Curtis and Rinaldo Alessandrini.
Since 1986, he has worked on an ongoing basis with
Jordi Savall, performing in a television staging of
L’Orfeo (2002), among other productions; and last
year, he was a guest of the Misteria Paschalia festival.
He has taken part in over 100 recordings for Decca,
Opus 111, Tactus, Stradivarius, Alia Vox et al.
49
Jordi Savall
Creativity and Innovation; and last year, he won the
Academia de las Artes y las Ciencias de la Música
prize, together with the title of best classical music
performer, as well as the Praetorius Musikpreis of
Lower Saxony.
Having begun his musical education early, singing
as a child in a choir in his hometown, Jordi Savall
studied at the music conservatory in Barcelona,
from which he graduated in 1965. Having taken a
liking to early music, he independently undertook
learning viola da gamba performance. Beginning
in 1968, he continued his education at the Schola
Cantorum Basiliensis in Switzerland. Savall is an
exceptional figure – an uncommonly talented
musician, instrumentalist and conductor, teacher,
persevering researcher and a discoverer of many
musical treasures. For over 30 years, he has been
involved in reconstruction and performance of
early works, not infrequently ones that have been
forgotten. Together with Montserrat Figueras, he
founded the following ensembles: Hespèrion XXI,
La Capella Reial de Catalunya (1987) and Le Concert
des Nations (1989). His experience and passion
in no small measure contributed to the success of
A. Corneau’s film Tous les matins du monde; Savall’s
recordings made for the film were honored with a
César award. His discography includes over 170
other recordings, for which he has received, among
others, Midem Classical Awards (many times) and
the Orphée d’Or (2008); his two-disc album Don
Quijote de la Mancha – Romances y Músicas was
acclaimed as the recording of the year in 2006; it
received a nomination for the Grammy award.
One recording project he prepared – Jérusalem,
La Ville des deux Paix: La Paix céleste et la Paix
terrestre – attained great critical recognition and
won the Orhphée d’Or de l’Académie du Disque
Lyrique in 2008, as well as the Caecilia and the
Midem Classical Award (2010). Savall is the winner
of many distinctions: Officier de l’Ordre des Arts et
Lettres (1988), La Medalla de Oro de las Bellas Artes
(1998), Victoire de la Musique (2002), Medalla d’Or
of the Parliament of Catalonia (2003); he has also
received the UNESCO Artist for Peace title. In
2009, he received the Georg Friedrich Händel Preis
awarded by Halle – the composer’s hometown – and
was named an ambassador of the European Year of
50
Photo: Teresa Llordés
51
La Capella Reial de Catalunya
schedule. It appears at the most important early
music festivals all over the world. The ensemble’s
repertoire and most important recordings,
preserved on over 25 discs, range from the poems
of the troubadours to Mozart’s Requiem. Its
most recent album is devoted to music written
during the reign of Queen Isabella I of Castile.
Its recording achievements have won the Grand
Prix de l’Académie Française du Disque, Grand
Prix de l’Académie Charles Cros, Diapason d’Or,
Prix de l’Académie du Disque Lyrique, Orphée
d’Or, Grand Prix du Disque Classique, Grand Prix
de la Nouvelle Académie du Disque, a Grammy
nomination (2007), the Midem Classical Award
(2010) etc. Since 1990, the ensemble’s activity has
been supported by the Catalonian government.
Photo: Alain Machelidon
This group, created in 1987 on the initiative of
Montserrat Figueras and Jordi Savall, was one
of the first vocal ensembles to perform music of
the ‘Golden Ages’ in accordance with historical
tradition. It is comprised of singers from Spain
and Latin America. Formed on the model of the
medieval royal chapels, Capella Reial – since 1990,
La Capella Reial de Catalunya – came into being
as the effect of its founders’ many years of study
of early music and performance practice. The
group is known for its special interpretative vision,
vocal sound quality and attention to the clarity
of the poetic text. Under Jordi Savall’s direction,
the ensemble carries on an intensive concert
52
Hespèrion XXI
Sephardic, Aramaic and Jewish music (albums
realized with the participation of invited musicians:
Jerusalem in 2008 and Istanbul in 2009). The
ensemble’s concert activity is not limited to Europe;
Hespèrion XXI takes part in early music festivals
all over the world, presenting such cross-sectional
and thematic programs as Música en los tiempos
de Cervantes, Música napolitana del Renacimiento,
El Barroco Español and Lachrimae Caravaggio
(presented as part of the Misteria Paschalia festival in
2008), or programs devoted to the œuvre of selected
composers (G. Gabrieli, G. Frescobaldi, S. Scheidt,
W. Lawes, J. Cabanilles, F. Couperin, J. S. Bach).
Their recordings of J. S. Bach’s Die Kunst der Fuge
and J. Dowland’s Lachrimae, or Seaven Teares are
noteworthy. For their phonographic achievements,
the ensemble has frequently won awards, among
others the Grand Prix de l’Académie du Disque
Francis Carco, the Grand Prix du Disque Charles
Cros and the Diapason d’Or.
United by a common aim – study, popularization
and performance of early music – and fascinated
by the enormous resources of European, and
especially Spanish music, Jordi Savall (bowed string
instruments), Montserrat Figueras (voice), Lorenzo
Alpert (wind and percussion instruments) and
Hopkinson Smith (plucked string instruments)
founded an ensemble known as Hespèrion XX in
1974. Active for over 30 years, the group has remained
faithful to that original idea; it performs mainly
works written before 1800 which have not previously
been performed. Together with the arrival of the
new millennium, all that has changed is the name
(Hespèrion XXI). The artists’ eclectic attitude finds
expression in its diverse repertoire – from medieval
Spanish music to works from the Renaissance (such
composers as Dowland, Tye and Coprario) and the
English Baroque, and even traditional Armenian,
53
54
Maundy Thursday
21 April
55
21 April
Maundy Thursday, 8:00 PM
ul. Zwierzyniecka 1
Via Crucis
Lucilla Galeazzi, voice
Philippe Jaroussky, countertenor
Christina Pluhar, conductor, theorbo
Barbara Furtuna
Jean Pierre Marchetti
Maxime Merlandi
Andre Dominici
Jean Philippe Guissani
L’Arpeggiata
Elisabeth Seitz, psaltery
Eero Palviainen, Baroque guitar, lute
Doron Sherwin, cornetto
Boris Schmidt, double bass
David Mayoral, percussion
Haru Kitamika, harpsichord
Anna Dego, dance
56
Fall on the Road to Calvary, Rafael Santi
57
Via Crucis
I. Maria – Prediction of Christ’s Suffering
Anonymous
Maria le sette spade^
Tarquinio Merula
1595–1665
Hor ch’è tempo di dormire
Anonymous
Ninna nanna sopra la Romanesca°
Maria (sopra La Carpinese)^
II. Suffering and Death of Christ
Maurizio Cazzati
1620–1677
Passacaglia*
Benedetto Ferrari
1603–1681
Queste pungenti spine
Anonymous
Voi che amate (z Laudario di Cortona, XIII w.)
Suda sangue^
Santo Gesù°
Stabat Mater^
Girolamo Kapsberger
1580–1651
Toccata arpeggiata*
58
Giovanni Felice Sances
1600–1679
Stabat Mater
Anonymous
Lamentu di Ghjesu^
III. Meeting in Paradise
Maurizio Cazzati
1620–1677
Ciaccona*
Claudio Monteverdi
1567–1643
Laudate Dominum
^ traditional music of Corsica
° traditional music of Latium
59
Lucilla Galeazzi
Photo: Reiner Pfisterer
During her studies at the University of Rome, Lucilla
Galeazzi became interested in the traditional music
of Umbria – the region from which she hails. In 1977,
she was accepted to Giovanna Marini’s vocal quartet,
with which she worked until 1994, taking part in the
ensemble’s numerous concerts and recordings. In
1982, she prepared her own program entitled Un
sogno così with Italian songs from the 1960s. The
singer has taken part in productions by Roberto de
Simone: Stabat Mater (Naples), Carmina Vivianea
(1988), Processo e martirio di Giovanna D’arco
(1989, Pisa), Pasolini Requiem (San Carlo). In 1987,
she founded the ensemble Il Trillo. Moving easily
among various areas of music, she has collaborated
with performers of contemporary music (in 2000,
she sang L. Berio’s Folk Songs) and jazz musicians
(in 1991, she was a soloist with the European Jazz
Orchestra in Strasbourg). The artist has to her credit
nearly 30 disc recordings which are a reflection of
her versatile and extensive musical interests, among
others: Cuore di Terra (1994), Honig und Asche,
made with L’Arpeggiata and its leader Christina
Pluhar (1998), Lunario (2001) and, most recently,
Amore e Acciaio (2005). For her album Stagioni, she
received the Académie Charles Cros’ prestigious
Grand Prix du Disque (2005). She conducts singing
courses in France and in her homeland of Italy.
60
Philippe Jaroussky
Laplenie, Kenneth Weiss and Sophie Boulin. He
debuted in 1999 at the Royaumont festival with a
role in A. Scarlatti’s little-known oratorio Sedecia,
ré di Gerusalemme, with Il Seminario Musicale and
Gérard Lesne. The superb reception of the artist
has borne fruit in a contract with Virgin Classics.
His recordings made for this label have won
numerous awards (Diapason d’Or, Choc du Monde
de la Musique, Gramophone Award, Echo Klassik
Award). The operatic audience were amazed by his
exceptional vocal abilities; several years later, they
were also appreciated by the jury of Victoires de la
Musique Classique, by whom he was proclaimed
the operatic revelation of the year 2004. A year
later, he enchanted Paris as Rinaldo; another great
success was a recital by Jaroussky and Le Concert
d’Astrée under the direction of Emmanuelle Haïm,
dedicated to the famous castrato Carestini, recorded
for Virgin in 2007. This performance was acclaimed
as the Victoires de la Musique recording of the year
for 2008, and the next year won the Midem Classical
Award. With the same musicians, Jaroussky has
also made a recording of Baroque arias entitled
Lamenti – this disc also received the Victoires
de la Musique award in 2009. The subsequent
Teatro d’Amore with music by Monteverdi and
La dolce fiamma with forgotten arias for castrati
by J. C. Bach immediately became bestsellers.
Recently, he unexpectedly took on – in a duo with
pianist Jérôme Ducros – an interpretation of French
music from the end of the 19th and beginning of the
20th centuries, the fruit of which is the disc Opium.
Mélodies françaises. A special place in the vocalist’s
repertoire is occupied by the works of Handel,
Vivaldi, Pergolesi and Monteverdi. He collaborates
regularly with Jean Tubéry, Marc Minkowski, René
Jacobs and Fabio Biondi, as well as with Ensemble
La Fenice, Ensemble Matheus, Les Arts Florissants,
Les Musiciens du Louvre and Europa Galante.
Philippe Jaroussky is a co-founder of the Artaserse
Ensemble. He concertizes in the most important
opera houses all over the world. In 2010, the jury of
Victoires de la Musique Classique named him artist
of the year.
Photo: Simon Fowler licensed to Virgin Classics
This artist obtained his musical education at the
conservatory in Versailles, where he studied violin
and piano performance, harmony and counterpoint.
In 1996, he began to study singing with Nicole
Fallien, then furthered his education in the faculty
of early music at the Paris Conservatory with Michel
61
Christina Pluhar
This artist fell in love with Renaissance and
Baroque music while studying at the university in
her hometown of Graz. Passion drove her to study
lute performance at the Royal Conservatory of
The Hague and the Schola Cantorum Basiliensis
with Hopkinson Smith, as well as Baroque harp
performance at the Scuola Civica di Milano with
Mary Galassi. Pluhar honed her skills studying
with Paul O’Dette, Andrew Lawrence-King and
Jesper Christensen. Since 1993, she has led a master
class at her alma mater in Graz; and since 1999,
she has taught Baroque harp performance at the
Royal Conservatory of The Hague. In 1992, with the
ensemble La Fenice, the artist won 1st prize at the
international early music competition in Malmö
and took up permanent residence in Paris. In her
repertoire are works from the 16th–18th centuries,
composed for various types of lutes, Baroque guitar,
theorbo and Baroque harp. She has performed with
the accompaniment of the following ensembles:
Hespèrion XXI (Jordi Savall), Il Giardino Armonico,
Concerto Soave (Maria Cristina Kiehr), Accordone
(Marco Beasley), Elyma (Gabriel Garrido), Les
Musiciens du Louvre (Marc Minkowski), Ricercar
Consort (Philippe Pierlot), La Grande Ecurie
et la Chambre du Roi (Jean-Claude Malgoire),
Cantus Cölln (Konrad Junghänel), as well as under
the direction of René Jacobs, Ivor Bolton et al.
Christina Pluhar is the founder of L’Arpeggiata, an
ensemble which she has led for 10 years; she selects
its repertoire based on her own research of early
music. With her ensemble, she has made many
recordings, among them the albums La Tarantella,
All’Improvviso, Los Impossibles and Teatro d’amore,
which enjoy considerable recognition from music
critics (Diapason d’Or, Prix Excellentia).
62
Photo: Marco Borggreve
63
Barbara Furtuna
This male quartet, which is now celebrating its
10th birthday, takes its repertoire inspirations from
the oldest musical tradition of Corsica. Barbara
Furtuna’s superb interpretations appeal to the tastes
of music lovers and meet the needs of contemporary
audiences, as evidenced by numerous performances;
listeners in Europe, North America and Australia
have been able to admire their work. The ensemble
has concertized in the most important musical
centers, not infrequently undertaking collaboration
with other groups representing diverse styles
and fields of art, such as the Baroque ensemble
L’Arpeggiata (performances of ancient Byzantine
music) or the Art’Mouv modern dance group.
Photo: From the ensemble’s archives
64
L’Arpeggiata
Haut-Jura, Festival de la Vézère, Festival de Música
Antigua de Darocca, Festival de Torroella de Montgri, Sanssouci Festival Potsdam, Festival Atlantique
Azores, Arques la Bataille, Théâtre de Bordeaux,
Vredenburg Music Center Utrecht, Concertgebouw
Brugge, Concertgebouw Amsterdam. All recordings made thus far by the ensemble have received
prestigious awards (Diapason d’Or, Amadeus, Prix
Excellentia, Cannes Classical Award). Since 2009,
the ensemble has been associated permanently with
the EMI/Virgin Classics label. The album Teatro
d’Amore with works by C. Monteverdi, released a
year earlier, on which solo vocal parts were performed by Philippe Jaroussky and Nuria Rial, was
honored with the Echo Klassik Preis (Germany,
2009), as well as the Edison Classic Prize (Holland, 2010). In March of last year, their most recent
record was released – Via Crucis, with the participation of Corsican vocal group Barbara Furtuna.
Founded in 2000, this vocal-instrumental ensemble
is comprised predominantly of French musicians.
However, its founder and director Christina Pluhar
describes the group as ‘an international cocktail of
artists with distinctive personalities’. The group’s
programmatic interests focus on French, Spanish,
Italian and Neapolitan music of the 17th century,
making bold use of improvisation, drawing inspiration from the complex texture created by a multitude of plucked instruments. L’Arpeggiata has
taken part in renowned festivals and performed in
concert halls all over the world, to mention a few:
Festival Oude Muziek Utrecht, Festival des Flandres, Rencontres Musicales de Vézelay, Pfingstfestspiele Melk, Festival d’Ambronay, Festival Baroque
de Pontoise, Early Music Festival Saint Petersburg,
Festival de Sully et du Loiret, Festival de Musique du
65
66
Good Friday
22 April
67
22 April
Good Friday, 8:00 PM
ul. Zwierzyniecka 1
Oratorio II
San Guglielmo: Raffaella Milanesi, soprano
Cuosemo: Maurizio Lo Piccolo, bass
Angelo: Paolo Lopez, soprano
San Bernardo, Padre Arsenio: Sabina Puértolas, soprano
Demonio: Lisandro Abadie, bass
Christophe Rousset, conductor, harpsichord, organ
Les Talens Lyriques
Gilone Gaubert-Jacques, Giorgia Simbula, Yuki Koike, Jonathan Guyonnet, Yannis Roger, violin I
Virginie Descharmes, Marie-Hélène Landreau, Jean-Marc Haddad, Cécile Mille, violin II
Laurent Gaspar, Sarah Brayer, viola
Emmanuel Jacques, Mathurin Matharel, ’cello
Luc Devanne, double bass
68
Giovanni Battista Pergolesi
1710–1736
Li prodigi della divina grazia nella conversione e morte di San Guglielmo duca d’Aquitania
Sinfonia
Scena V. Demonio e Capitano da soldati in
viaggio, poi Angelo
ATTO PRIMO
Recitativo: E seguir noi dovremmo gl’ordini
imposti
Scena I
Demonio, Cuosemo, Angelo
Recitativo: Sulla sede di Piero
Aria: Abbassa l’orgoglio
S. Guglielmo, Cuosemo
Angelo
Recitativo: Vi’ a che azzardo me trovo
Scena II. Demonio da volante e detti
Cuosemo, Angelo
Recitativo: Signor tosto spedito, a voi ritorno
Recitativo: Bene mio
Demonio, S. Guglielmo, Cuosemo
Cuosemo, Demonio
Aria: Si vedisse cca’dinto a’sto core
Scena III. Demonio da paggio e detti
Cuosemo
Recitativo: Signore, in questa soglia
Recitativo: No, non m’atterrisco al lampo
Angelo, Demonio, S. Guglielmo
Demonio
Aria: A fondar le mie grandezze
Scena IV. S. Bernardo e detti
Demonio
Recitativo: Guglielmo, fin da miei sacri recessi
Scena VI. S. Guglielmo ed Angelo sotto nome
d’Albinio
S. Bernardo, Demonio, Angelo, S. Guglielmo
Aria: Ch’io muti consiglio
Recitativo: Poiché l’uscio de’ tempi
S. Guglielmo
S. Guglielmo, Angelo
Recitativo: Già la vittoria è in campo
Aria: Dove mai raminga vai
Demonio, Angelo, S. Bernardo
Angelo Aria: Dio s’offende, e l’uom ne giace
Recitativo: Ma non sai che risponde
S. Bernardo
S. Guglielmo, Angelo
69
Scena VII. S’apre il tempio – S. Bernardo
e detti
Scena X. Capitan Cuosemo da povero, e detto
Recitativo accompagnato: Così dunque si teme
Cuosemo, Demonio
Duetto: Chi fa bene chi se move
S. Bernardo
Recitativo: Padre, pe’ ccaretà
Aria: Come non pensi ch’un fuoco eterno
Cuosemo, Demonio, Angelo
S. Bernardo
Recitativo: Ah spione fauzario
Recitativo: Dove dove, misero, sono!
Cuosemo
S. Guglielmo, Angelo, S. Bernardo
Aria: Sennera venuto
Cuosemo
Scena VIII. Demonio e detti
Recitativo: Oh che atroce conflitto
Scena XI. S. Guglielmo e Arsenio eremita
Demonio, Angelo, S. Guglielmo, S. Bernardo
Recitativo: Ciò che imponesti eseguirò fedele
Quartetto: Cieco che non vid’io
S. Guglielmo
Angelo, S. Bernardo, S. Guglielmo, Demonio
Scena XII. Arsenio eremita solo e S. Guglielmo
Recitativo: Quanto è caro in quest’ombre
ATTO SECONDO
S. Bernardo (Arsenio)
Scena IX. S. Guglielmo, Demonio
Aria: Tra fronde e fronda
Recitativo: Fin dove il mar s’estende
Arsenio
S. Guglielmo, Demonio
Recitativo: Chi conosce il suo male
Aria: Se mai viene in campo armato
S. Bernardo, S. Guglielmo
Demonio
Duetto: Di pace e di contento
Recitativo: Voi siete il padre Arsenio?
S. Bernardo, S. Guglielmo
Aria: Fremi pur quanto vuoi
Angelo
ATTO TERZO
Recitativo: Pur ch’io mi serbi altero
Scena XIII. S. Guglielmo da pellegrino
Demonio
Recitativo: Questa d’Italia più remota parte
S. Guglielmo
70
Scena XIV. Demonio da spirto, poi Capitano
da romito per la cerca
Scena XIX. Alberto, Demonio da Ridolfo
Recitativo: O mia vittoria, o mio trionfo eterno
Alberto, Demonio, Cuosemo
Recitativo: Dove mai volgo il piè
Demonio, Cuosemo
Duetto: So’ mpazzuto
Cuosemo, Demonio
Scena XX. S. Guglielmo avanti l’altare facendo
oratione col flagello in mano, e Frà Cuosemo
e detti
Scena XV. S. Guglielmo da cieco
Recitativo: Vedite, non parlate
Frà Cuosemo, Angelo, Demonio
Recitativo accompagnato: È dover che le luci
Aria: Lascia d’offendere l’onesta spoglia
S. Guglielmo
Angelo
Aria: Manca la guida al piè
Recitativo: Dentro del chiostro impaziente io
vado
S. Guglielmo
Angelo, Frà Cuosemo, Demonio
Scena XVI. Angelo e detto
Recitativo: Eh non vene ntennite
Recitativo: Guglielmo, Iddio punisce
Frà Cuosemo
Angelo, Guglielmo
Aria: Veatisso siente di gruosso grasso
Frà Cuosemo
Scena XVII. Demonio da ombra del padre di
S. Guglielmo e detto
Recitativo: Chiù de chisto facimmo
Frà Cuosemo
Recitativo: Figlio, da’ suoi riposi
Demonio, S. Guglielmo
Scena XXI. S’apre il Duomo: S. Guglielmo
moribondo, Alberto da Monaco, Angelo e
Demonio in lor figura
Recitativo: Ora il vedrai
Demonio
Aria: A sfogar lo sdegno mio
Demonio
Recitativo: Ecco, s’appressa all’ultimo cimento
Duetto: Vola al Cielo anima bella
Scena XVIII. Angelo e detto
Angelo, Demonio
Recitativo: Su sgombrate, o crudeli
Angelo, S. Guglielmo
71
Raffaella Milanesi
This artist is an alumna of the Accademia Nazionale
di Santa Cecilia in Rome. Since her graduation in
1997, she has performed and recorded many diverse
operatic roles; she has sung in C. Monteverdi’s
L’Incoronazione di Poppea (Ottavia), G. F. Handel’s
Giulio Cesare (Cleopatra), F. J. Haydn’s L’anima
del filosofo (Euridice), G. Donizetti’s Don Pasquale
(Norina) and G. Puccini’s La Bohème (Musetta).
Most often, however, audiences have been able to
admire Milanesi’s interpretations of Mozart roles:
Elettra, Donna Anna, Susanna, Servilia et al. She
has appeared as a guest artist at opera theaters all
over Europe: Amsterdam, Antwerp, Bordeaux,
Lausanne, Luxembourg, Madrid, Paris, Salamanca
and Vienna, as well as at major festivals. She has
collaborated with such distinguished conductors
as Marc Minkowski (G. Rossini’s La Cenerentola at
La Monnaie in Brussels), Rinaldo Alessandrini (as
Proserpina in C. Monteverdi’s L’Orfeo at Teatro alla
Scala in Milan), Ottavio Dantone, Giuliano Carella,
Nicola Luisotti, Donato Renzetti, Adam Fischer,
Alessandro de Marchi (as Silvia in F. J. Haydn’s
L’isola disabitata at the Innsbrucker Festwochen),
Andrea Marcon, Enrique Mazzola, Hervé Niquet,
Philippe Pierlot and Christophe Rousset.
Photo: Mirco Palazzi
73
Maurizio Lo Piccolo
This artist comes from Palermo. In his hometown,
he took up voice studies in 1995 and, a mere year
later, debuted as Don Chilone in L. Vinci’s Erighetta
e Don Chilone (Laboratorio Lirico), as well as
Darlemont in G. Donizetti’s I pazzi per progetto
(Operalaboratorio). In 1997, he collaborated with
Palermo’s Teatro Massimo, where he appeared in
productions of operas including R. Strauss’ Der
Rosenkavalier, G. Rossini’s Adina, G. Puccini’s
Manon Lescaut, P. Tchaikovsky’s Eugene Onegin,
and G. Verdi’s Rigoletto. He specializes in the
operatic repertoire and is considered an unrivalled
interpreter of comic roles, especially in 18th-century
opere buffe (A. Scarlatti, B. Galuppi, G. B. Pergolesi
et al.). Beyond this, he often performs works by
W. A. Mozart: Le nozze di Figaro (title role and
Count Almaviva), Don Giovanni (Leporello and
Il Commendatore) and Così fan tutte (Don Alfonso
and Guglielmo), as well as the masterpieces of
the Italian bel canto. Lo Piccolo’s repertoire also
includes such works of 20th-century music as
F. Busoni’s Arlecchino and I. Stravinsky’s Pulcinella.
The singer performs all over Europe, appearing as
a guest artist at such festivals as Aix-en-Provence,
Maggio Musicale Fiorentino, the Mozart festival in
La Coruña, the Rossini festival in Pesaro and the
Wexford Festival Opera, as well as at music theaters.
More rarely, he interprets religious music; under the
direction of Riccardo Muti at the Ravenna Festival,
he sang Mozart’s Requiem, La Betulia liberate and
Vesperae Solemnes de Confessore; under the direction
of Zubin Mehta, he prepared a solo part in the
Mass in C minor; and in Rosenheim, he performed
Rossini’s Petite Messe Solennelle. In 2009, under the
baton of Federico Maria Sardelli, he took on the role
of the Prince in the first contemporary performance
of A. Salieri’s opera Il mondo alla rovescia (theater
in Verona), a recording of which just came out on
the Dynamic label.
74
Paolo Lopez
A native of Palermo, Paolo Lopez studied singing
under the direction of Salvatore Ragonese at the
Bellini Conservatory in his hometown. After
finishing his studies in 2005, he entered the chorus
of the local music theater, thereby gaining the
opportunity to perform small solo parts in such works
as B. Britten’s Noah’s Flood and G. Puccini’s Tosca.
At the same time, he worked on his vocal technique
and honed his acting skills with such artists as Enzo
Dara, Filippo Crivelli and Ewa Wimola. In 2006, he
won 3rd Prize at the the Concorso Internazionale
di Canto Barocco Francesco Provenzale in Naples.
The artist specializes in early music performance.
His repertoire includes solo parts from sacred
works of the Baroque era: G. Carissimi’s Historia
di Job and Vanitas Vanitatum, A. Vivaldi’s Gloria
and Magnificat, C. Monteverdi’s Vespro della
Beata Vergine and Selva morale e spirituale (with
the Elyma Ensemble) and G. B. Pergolesi’s Stabat
Mater, as well as F. J. Haydn’s Stabat Mater (with
Les Folies Françoises). Lopez also often appears in
Italian Baroque operas, among others S. Landi’s
Sant’Alessio (title role, Opera National de Lorraine
in Nancy with William Christie and Les Arts
Florissants), F. Cavalli’s Le virtù de’ strali d’Amore
(as Erino, DVD recording under the direction of
Fabio Biondi with Europa Galante), A. Cesti’s Le
Disgrazie d’Amore (role of Amore, recording for
Hyperion) and D. Scarlatti’s Ottavia restituita al
trono (part of Dorillo, Festival de Beaune with La
Pietà de’ Turchini).
75
Sabina Puértolas
This artist studied at the Conservatorio Superior de
Música de Navarra in Pamplona, as well as at the
Accademia Chigiana in Siena and the Accademia
Verdiana in Busseto. She has won the following
competitions: R. Zandonai in Rovereto, L. Mariano
in Irún, J. Gayarre in Pamplona, Concurso Nacional
de Jóvenes Interpretes. Under the direction of
Riccardo Muti in Verdi’s Un ballo in maschera, she
debuted on the stage of Teatro alla Scala in Milan;
with the same ensemble, she later appeared as Gilda
(Verdi’s Rigoletto) in Belgrade, which contributed to
the development of her career. Puértolas feels right
at home on stage; her repertoire includes many
operatic roles, from Drusilla in C. Monteverdi’s
L’incoronazione di Poppea, through the protagonists
of Mozart operas, to Micaëla in Carmen and Léïla in
G. Bizet’s Les Pêcheurs de perles, Oskar in G. Verdi’s
Un ballo in maschera and Musetta in G. Puccini’s La
Bohème. The singer appears as a guest artist in major
musical centers all over the world; she has performed
opposite Plácido Domingo at the Washington
Opera; under the direction of Christophe Rousset,
she debuted at Teatro Real in Madrid. More
rarely, one can hear her interpretations of solo
parts in oratorio works (G. P. Pergolesi’s Stabat
Mater in Rotterdam and Paris). Last season, with
José Carreras, she concertized in Italy (Teatro
alla Scala, Taormina in Sicily), Spain, Greece and
Mexico; she also prepared thirteen roles in various
operatic works, which she had the opportunity to
present at venues including Teatro de la Zarzuela in
Madrid and other opera theaters in Spain, Théâtre
des Champs-Elysées in Paris, Liège, Theater an
der Wien, and Teatro Argentino de La Plata. The
artist’s plans for the immediate future include
performances in productions of Rigoletto (Gilda)
at the Auditorio de Baluarte in Pamplonaand
A. Vivaldi’s Il Farnace (Gilade) at the Théâtre des
Champs-Elysées, as well as in zarzuelas: J. Serrano’s
La canción del olvido (Rosina) at Teatro Calderón
in Valladolid and P. Sorozábala’s La del manojo de
rosas at Teatro Campoamor in Oviedo and Teatro
Arriaga in Bilbao.
76
Lisandro Abadie
Photo: P. Kornfeld
Born in Buenos Aires in 1974, Lisandro Abadie
studied voice at the Schola Cantorum in Basel
with Evelyn Tubb, and at the Musikhochschule in
Lucerne with Peter Brechbühler. In 2006, he won
the Edwin Fischer Gedenkpreis. He has had the
opportunity to work with such distinguished artists
as William Christie (H. Purcell’s The Fairy Queen in
Aix-en-Provence), Facundo Agudin (W. A. Mozart’s
Don Giovanni, Die Zauberflöte, Le nozze di Figaro,
J. S. Bach’s Passion According to St. John and
Magnificat, G. Fauré’s Requiem), Hervé Niquet
(M. Marais’ Sémélé, CD recording of concert in
Montpellier), Laurence Cummings (2009, Theodora
at London Handel Festival), Benjamin Lazar (2010,
O. Strasnoy’s Cachafaz, French tour), Laurent
Gendre (recordings of works by C. Monteverdi),
Philippe Krüttli, Anthony Rooley, Maurice Steger,
Paul Suits, Václav Luks, Joshua Rifkin, Jesper
Christiensen, Daniela Dolci and John Duxbury,
as well as Jan Tomasz Adamus, who is familiar
to Kraków audiences. Abadie has taken part in
productions of such recently-written operatic works
as A. Pflüger’s Der schwarze Mozart and S. Verdú’s
Gramma; and last year, in the European première
and first recording of C. Favre’s Requiem under the
baton of Facundo Agudin. He gives recitals and
records discs with the accompaniment of pianist
Paul Suits. He has collaborated with, among other
ensembles: Les Arts Florissants, Collegium 1704,
Mala Punica, Les Folies Françoises (with which he
gave several concerts in 2009 – Brussels, Théâtre
des Champs Elysées in Paris, Palau de les Arts in
Valencia); and in 2010, he performed for the first
time with Les Talens Lyriques, led by Christophe
Rousset (G. B. Pergolesi’s oratorio San Guglielmo).
77
Christophe Rousset
This artist’s fascination with Baroque music – in
particular, opera – and aesthetics was born in his
youth, which he spent in Aix-en-Provence. At age
13, he began to take instruction in harpsichord performance. He continued his education in this area
at the Schola Cantorum in Paris with Huguette
Dreyfus, and then at the Royal Conservatory in
The Hague with Bob van Asperen. In 1983, he won
1st Prize as well as the audience prize at the prestigious harpsichord competition in Bruges. His
superb interpretations have riveted the attention
of music critics and record labels. He has recorded
for Harmonia Mundi, L’Oiseau-Lyre, Fnac Music,
EMI/Virgin Classics, Decca, Naïve, and Ambroisie
(harpsichord works by F. Couperin, J.-P. Rameau
and J. S. Bach – these performances are considered
to be ideal). In short order, he attained a reputation
as a reliable soloist and chamber musician, a talented, competent conductor and a patient teacher.
Before founding Les Talens Lyriques in 1991, he
was a member of Les Arts Florissants, and later of
Seminario Musicale. His enthusiasm as a performer,
combined with his passion as a researcher (Rousset has discovered many original scores of works by
the Baroque masters), spread to the members of the
ensemble, and the musicians soon won universal
recognition. Les Talens Lyriques’ renditions of various 17th- and 18th-century European music projects
are always highly emotionally charged and display
the repertoire from a different perspective. Rousset
has received the titles of Officier des Arts et Lettres
and Chevalier dans l’Ordre National du Mérite.
78
Photo: Éric Larrayadieu
79
Les Talens Lyriques
This vocal-instrumental ensemble was founded
nearly 20 years ago by Christophe Rousset, who
by the mere choice of name designated the scope
of the group’s interests from the outset. Les Talens
Lyriques’ focus is on 18th-century operatic music;
but increasingly, the ensemble draws upon other
genres, as well as the achievements of other eras.
Its repertoire includes stage works by C. Monteverdi (L’Incoronazione di Poppea), G. F. Handel
(Scipione, Riccardo Primo, Rinaldo, Admeto, Giulio Cesare, Serse, Tamerlano, Alcina, Ariodante),
J.-B. Lully (Persée, Roland, Bellérophon), D. Cimarosa (Il mercato di Malmantile, Il matrimonio segreto), T. Traetta (Antigona, Ippolito ed Aricia) and
even W. A. Mozart (Mitridate, re di Ponto), as
well as motets (Dumont, Daniélis), madrigals and
cantatas (Clérambault, Brossard, Montéclair). In
its interpretations of stage works, what is clearly
prioritized is the works’ instrumental plane, considered by Rousset (a harpsichordist) to be just as
important as the vocal parts. The clarity and theatrical panache of their presentations, in turn, are
achieved through the ensemble’s collaboration with
such artists as Jean-Marie Villégier, Philippe Lénaël,
Jean-Claude Berutti, Pierre Audi, Jean-Pierre Vincent, Lindsay Kemp, Marco Arturo Marelli, Éric
Vigner, Jérôme Deschamps and Macha Makeïeff,
Marcial di Fonzo Bo, Francisco Negrin, Irina Brook
and Lukas Hemleb, as well as, recently, Krzysztof
Warlikowski, Zhang Huan, Mariame Clément and
David McVicar. Les Talens Lyriques records for
Decca (Universal Music), Naïve, Ambroisie, Aparté
and Virgin Classics. In 1994, it took part in the
recording of the soundtrack for the film Farinelli:
il castrato. The group’s artistic activity is supported
financially by the French government, the city
authorities of Paris, the Annenberg Foundation and
the Cercle des Mécènes.
Les Talens Lyriques receive support from the French Department of Culture and Communication, the city
of Paris, the Annenberg Foundation and the Cercle des Mécènes. The ensemble is a member of the FEVIS
and PROFEDIM (Fédération et Syndicat des Ensembles Vocaux et instrumentaux Spécialisés).
80
Photo: Éric Larrayadieu
81
82
Holy Saturday
23 April
83
23 April
Holy Saturday, 5:00 PM
St. Kinga’s Chapel
Salt Mine in Wieliczka
Lacrime di Leo
La Morra
Doron Schleifer, voice
Giovanni Cantarini, voice
Corina Marti, recorders, harpsichord
Michał Gondko, viola da mano
Anne Rongy, viola d’arco
Corina Marti, Michał Gondko, artistic directors
84
Secret Music of Pope Leo X
I. Ballo I (Dance I)
Hans Judenkünig
ca. 1450–1526
Rossina ein welscher tantz*
Guglielmo Ebreo da Pesaro
15th c.
Petits riens*
II. Pensiero (Thought)
Anonymous
Di pensier in pensier mi guida amor
Francesco Spinacino
16th c.
Recercare*
Anonymous
16th c.
Ocelino, bel ocelino [deh lassa mi dormire]*
Bartolomeo Tromboncino
ca. 1470–ca. 1535
Hor che‘l ciel e la terra
III. Fuoco d’amore (Fire of Love)
Joanambrosio Dalza
16th c.
Calate alla spagnola*
Publius Ovidius Naso, ‘Amores’
O nunquam pro re satis indignande Cupido°
Benedetto Gareth
ca. 1450–1514
Amando e desïando
85
Juan de Léon
16th c.
Ay, que non sé rremediarme*
Antonio Caprioli
1425–1475
Quella bella e biancha mano
Anonymous / Niccolò Brocco
O tiente a l’ora
IV. Preghiera (Prayer)
Ave Maria, gratia plena
Nicolas Craen
ca. 1440-50–1507
Ecce video celos apertos*
Vergine bella
V. Ballo II (Dance II)
Domenico da Piacenza
ca. 1390–ca. 1470
Leoncello*
VI. Partita (Parting)
Anonymous
Fortuna desperata
De, ch‘è la morta, la mia signora*
Francesco Canova da Milano
1497–1543
Ricercare*
86
Jacobus Arcadelt
ca. 1500–1568
Il bianco e dolce cigno
Angelo Polizano
1454–1494
Venite insieme, amanti
Per dolor mi bagno il viso
° recitation
87
La Morra
Photo: Susanna Drescher
This international early music ensemble was formed
over 10 years ago from students at the Schola
Cantorum Basiliensis. After its successful debut
at the International Young Artist’s Presentation
in Antwerp in 2000, it adopted an active concert
schedule all over Europe (Germany, France,
Switzerland, Estonia, Finland, Spain, Great Britain,
Poland, Cyprus), taking part in such major music
festivals as the Festival van Vlaanderen, Festival de
Wallonie, Netwerk Oude Muziek, Holland Festival
Oude Muziek, Rencontres de Musique Médiévale
du Thoronet, Freunde alter Musik Basel, Tage
alter Musik, and Autunno Musicale. Their careful
selection of repertoire backed by research, their
virtuosity, and tasteful interpretations has brought
the group great renown, as well as recognition
from audiences and critics. Last season, the La
Morra ensemble, together with the Coro della
Radiotelevisione Svizzera (Lugano), took part in
a television production entitled Farsa del Barba,
presenting early Renaissance Italian music, as well
as presenting a monographic program devoted to
the music of Johannes Ciconia at the Church of
St. John the Evangelist in Liège, with which the
Flemish composer was associated in his childhood.
La Morra has recorded four enthusiastically
received albums for the following labels: Ramée,
Raumklang, Et’Cetera and Musiques Suisses. This
season, their plans include three more recording
projects with Flemish and Spanish music.
90
Holy Saturday
23 April
91
23 April
Holy Saturday, 8:30 PM
Kraków Opera
ul. Lubicz 48
La Passion de Jeanne d’Arc
Adrian Utley (Portishead)
Will Gregory (Goldfrapp)
Charles Hazlewood, conductor
Adrian Utley, guitar, mandola, synthesizer
Will Gregory, synthesizer, saxophone
Alan Emslie, percussion
Clive Deamer, percussion
Ruth Wall, harp, synthesizer, percussion
Jim Barr, guitar
Steven Manley, guitar
Neil Smith, guitar
Denny Ilett, guitar
Alex Lee, guitar
Rik Dowding, sound engineering
Capella Cracoviensis
Marian Magiera, Paweł Gajewski, trumpet
Paweł Cieślak, Bogdan Piznal, trombone
Jarosław Jastrzębski, tuba
Octava Ensemble
Agnieszka Drabent, soprano
Anna Magiera, soprano
Małgorzata Langer-Król, mezzo-soprano
Łukasz Dulewicz, countertenor
Zygmunt Magiera, tenor
Marek Opaska, tenor
Bartłomiej Pollak, baritone
Marcin Wróbel, bass
92
93
Adrian Francis Utley
A British producer, guitarist, bassist and keyboardist,
Adrian Francis Utley was born on 27 April 1957 in
Northampton. After turning 18, the artist began
his professional music career. He has collaborated
with many jazz musicians, among them Big John
Patron and The Jazz Messengers. Since 1991, he
has been a member of the Bristol group Portishead,
with which he has recorded three discs: Dummy
(1984), Portishead (1997) and Third (2008). Adrian
Francis Utley is involved in composing film sound
tracks. His music has ‘adorned’ films including
Nicholas Roeg’s Sound, Jonathan Nossiter’s Signs
and Wonders, Hazel Grian’s Baby Cue and Mary
Harron’s American Psycho (with Daniel Ash). He
also produces discs by other artists, among them
Portishead vocalist Beth Gibbons, Joe Volk, Kevin
Flanagan and The Coral.
94
William Owen Gregory
A British producer, keyboardist and saxophonist,
William Owen Gregory was born on 17 September
1959 in Bristol. The artist holds a degree in classical
music from York University. In 1981, he began his
studio and concert career. William Owen Gregory
has recorded and performed with Peter Gabriel,
Tori Amos, The Cure, Tears For Fears, Portishead
and Paula Rae Gibson. In 1999 he joined vocalist
Alison Goldfrapp to create the synth-pop duet
Goldfrapp. Together they have recorded five
discs: Felt Mountains (2000), Black Cherry (2003),
Supernature (2005), Seventh Tree (2008) and Head
First (2010). As a saxophonist, Gregory has played
with Apollo Saxophone Quartet, the London
Sinfonietta, Michael Nyman and the psychedelic
group Spiritualized.
95
Charles Hazlewood
In 1995, Charles Hazlewood won 1st Prize at
the EBU Conducting Competition. He debuted
at Carnegie Hall in 2003 and, three years later,
at the BBC Proms. The artist collaborates with
ensembles all over the world; this season, he
appeared as guest conductor with the Göteborg
and Malmö Symphonies, the Orchestra of the Age
of Enlightenment and the Philharmonia, as well as
performing at the Concertgebouw in Amsterdam.
He is the music director of Excellent Device!, a group
specializing in contemporary music performance,
as well as the Army of Generale, whose members
play historical instruments. In 2008, he joined other
artists in founding the improvising ensemble The
Charles Hazlewood All Stars, which has taken part
in the Glastonbury Festival. He has been associated
for years with the BBC Concert Orchestra, with
which he performed at this season’s Proms concerts
with enormous success, and presented K. Weill’s
forgotten work Lost in the Stars (South Bank Centre
in London). For seven years, Charles Hazlewood
was music director of Dimpho di Kopane in Cape
Town, where he staged several opera productions
and made the recording U-Carmen eKhayelitsha
(Black Carmen) in a film version which was named
the best film at the 2005 International Film Festival
in Berlin. As an ardent popularizer of classical
music, he has prepared and recorded sound
tracks for television films about Vivaldi, Mozart,
Beethoven and Tchaikovsky, as well as for the
BBC2 series The Birth of British Music. He hosts the
celebrated Sony Awards radio broadcast series. One
of the conductor’s most recent artistic initiatives
was to organize the Play the Field festival broadcast
by Radio 2, which took place for the first time in
August 2009 at his estate in Somerset. In the next
few months, Hazlewood will première W. Gregory’s
newest opera at South Bank Centre’s Ether festival.
96
97
Octava ensemble
many cultural institutions in Poland and abroad.
Octava ensemble’s vocal skills and versatility are
attested by the fact that the group has premièred
many works by Polish and foreign artists, taking
part in many recordings. Their disc with B. Pękiel’s
Missa pulcherrima and motets by G. G. Gorczycki
made for Dux – the most significant recording label
on the Polish music market – received a nomination
for the Fryderyk 2010 prize. Every one of the
musicians’ performances is acclaimed by audiences
and critics. The ensemble’s artistic director is
Zygmunt Magiera, a graduate of the Academy
of Music in Kraków, the winner of 1st Prize at the
12th National Choral Conductors’ Competition in
Poznań and 2nd Prize at the Towards Polyphony
International Choral Conducting Competition; he
simultaneously holds the post of artistic director of
the Capella Cracoviensis singers’ ensemble.
Considered by music critics to be one of the most
interesting Polish vocal ensembles of the younger
generation, Octava ensemble quickly established
its position among Polish chamber groups. Its
repertoire includes works from various eras, from
medieval music up to the œuvre of contemporary
composers; it is also not averse to works that blur the
boundary between jazz and popular music. Octava
ensemble (previously the Octava vocal octet),
esteemed by jurors at the most important Polish
and international festivals and choral competitions,
has won many top prizes. Among these is the most
prestigious in the area of Polish choral arts – the
Grand Prix at the 39th edition of Legnica Cantat. The
ensemble takes part in numerous music festivals,
concerts and artistic projects, collaborating with
98
Capella Cracoviensis
de Toulouse, Ensemble Oltremontano and Nacht
musique. Capella Cracoviensis is also a vocal
ensemble performing repertoire that extends from
Gesualdo’s mannerist madrigals to Szymanowski’s
Kurpie Songs. The choir is utilized by distinguished
guests of the Opera Rara series, such as Fabio Biondi
and Marc Minkowski. A recent special project of the
Capella Cracoviensis vocal group was an innovative crossover entitled Bar.oque Feast – a staging of
madrigals by C. Monteverdi at one of Kraków’s milk
bars featuring Maria Peszek, as well as Jan Peszek
reciting Petrarch sonnets. Since November 2008, the
ensemble’s executive and artistic director has been
Jan Tomasz Adamus. Previously associated with
Wrocław, this organist, harpsichordist, conductor
and organizer of musical life studied in Kraków and
Amsterdam. He formed his artistic sensitivity in
collaboration with many distinguished singers, as
well as in contact with art, discerning in painting,
sculpture, architecture and philosophy a constant
counterpoint for all his musical endeavors.
Founded in 1970 on the initiative of Stanisław
Gałoński, Capella Cracoviensis is presently one
of Poland’s most dynamic ensembles specializing
in stylistic performance of music from past eras.
Thanks to the ongoing support of the City of Kraków,
Capella Cracoviensis is able to carry out ambitious
projects in an uncompromising manner and at the
highest artistic level, involving superb artists of a
particular sensitivity. The ensemble has collaborated in productions of Baroque operas and oratorios on historical instruments (recently: G. F. Handel’s Amadigi, Deborah, Rodelinda, A. Vivaldi’s
Griselda, J. S. Bach’s Passion According to St. John
and Christmas Oratorio) with musicians from such
renowned ensembles as Il Giardino Armonico,
Europa Galante, Orchestra of the 18th Century and
L’Arpeggiata. Guest artists of Capella Cracoviensis
have also included Andrew Parrott, Paul Goodwin, Sirkka-Liisa Kaakinen, Les Sacqueboutiers
99
100
Easter Sunday
24 April
101
24 April
Easter Sunday, 8:00 PM
ul. Zwierzyniecka 1
Missa
Ruby Hughes, soprano1
Ana Quintans, soprano2
Pauline Sabatier, mezzo-soprano3
Blandine Staskiewicz, mezzo-soprano4
Nathalie Stutzmann, alto5
Terry Wey, alto6
Colin Balzer, tenor7
Emiliano Gonzalez-Toro, tenor8
Christian Immler, bass9
Luca Tittoto, bass10
Marc Minkowski, conductor
Les Musiciens du Louvre-Grenoble
Thibault Noally, Maria Papuzinska-Uss, Karen Walthinsen, Bérénice Lavigne, violin I
Nicolas Mazzoleni, Claire Sottovia, Agnieszka Rychlik, Alexandrine Caravassilis, violin II
Nadine Davin, Michel Renard, viola
Nils Wieboldt, Claire Giardelli, ’cello
Christian Staude, double bass
Florian Cousin, Jean Brégnac, transverse flute
Yann Miriel, Timothée Oudinot, Xavier Miquel, oboe, oboe d’amore
Jani Sunnarborg, David Douçot, bassoon
Johannes Hinterholzer, corno da caccia
Thibaud Robinne, Jean-Baptiste Lapierre, Emmanuel Mure, trumpets
Sylvain Bertrand, tympani
Francesco Corti, harpsichord, organ
Concert recorded by Channel 2 of Polish Radio
102
Johann Sebastian Bach
1685–1750
Mass in B minor BWV 232
Kyrie
Chorus: Kyrie eleison
Duet1, 3: Christe eleison
Chorus: Kyrie eleison
Gloria
Chorus: Gloria in excelsis Deo
Chorus: Et in terra pax
Aria4: Laudamus Te
Chorus: Gratias agimusTibi
Duet2, 7: Domine Deus
Chorus: Qui tollis peccata mundi
Aria6: Qui sedes ad dextram Patris
Aria10: Quoniam tu solus sanctus
Chorus: Cum Sancto Spiritu
Credo (Symbolum Nicenum)
Chorus: Credo in unum Deum
Chorus: Patrem omnipotentem
Duet2, 6: Et in unum Dominum
Chorus: Et incarnatus est
Chorus: Crucifixus
Chorus: Et resurrexit
Aria9: Et in Spiritum Sanctum
Chorus: Confiteor
Chorus: Et expecto resurrectionem
Sanctus
Chorus: Sanctus
Chorus: Osanna in excelsis
Aria8 : Benedictus
Chorus: Osanna in excelsis
Agnus Dei
Aria5: Agnus Dei
Chorus: Dona nobis pacem
103
Ruby Hughes
After winning 1st Place and the audience prize at
the London Handel Festival Singing Competition
in 2009, Ruby Hughes debuted on the stage of
Theater an der Wien in the role of Roggiero in
G. Rossini’s Tancredi under the baton of René
Jacobs. There as well, she also appeared as Fortuna
in C. Monteverdi’s L’Incoronazione di Poppea.
She has taken part in projects prepared by such
ensembles and festivals as the Opera Group, Opéra
de Toulon, Classical Opera Company, Early Opera
Company, Die Lautten Compagney, Musikfestspiele
Potsdam Sanssouci, Musikwerkstatt Wien and
Potsdamer Winteroper. The artist has concertized
with the Academy of Ancient Music, Akademie für
Alte Musik, Barockorchester Stuttgart, BBC Concert
Orchestra, Cappella Amsterdam, Le Concert Lorrain,
Huddersfield Choral Society, London Mozart
Players, Les Musiciens du Louvre-Grenoble, Musica
Saeculorum, Orchestra of the Age of Enlightenment
and Philharmonia, under the direction of such
conductors as Freider Bernius, Olof Boman,
Stephen Cleobury, Laurence Cummings, Christian
Curnyn, Pablo Heras-Casado, Wolfgang Katschner,
Marc Minkowski, Daniel Reuss, Ian Page, Andreas
Spering, Christoph Spering, Stephan Schultz,
Johannes Wildner and Takuo Yuasa. Concerts
with her participation are frequently broadcast
by European radio and television stations (SR2,
BBC, RTÉ, ORF, Radio France, Deutschlandradio
Kultur). The singer’s plans for the immediate
future include performances in projects with Sir
Jonathan Miller (J. S. Bach’s Passion According to
St. Matthew, Royal National Theatre in London)
and Harry Christophers (G. F. Handel’s Saul at the
Buxton Festival), preparation of several operatic
roles (Minerva in C. Monteverdi’s Il ritorno d’Ulisse
in patria, English National Opera; the title role in
G. F. Handel’s Atalanta, London Handel Festival),
as well as a recital accompanied by pianist Julius
Drake at the Pollok House Arts Society in Glasgow.
104
Ana Quintans
After completing fine arts studies (sculpture), Ana
Quintans began to study voice at the conservatory in
Lisbon with José Manuel Araujo. She has taken part
in the La Musique des Mémoires workshops run by
composer and multimedia artist Claire Renard, in
many courses, and also in the Operaplus Summer
School for Young Singers in Belgium, where she
won the Vera Rozsa Scholarship Award (2003)
and the Temple Square Concert Award (2004). In
2006, she completed her education at the Calouste
Gulbenkian Foundation and began training at the
Flanders Opera Studio in Ghent. She often performs
on stage, engaged mainly for productions of
Baroque operas prepared by such stage directors as
Jorge Listopad, Paula Ribeiro, Bernard Sobel, Carlos
Wagner, Frederique Dussene and Deborah Warner.
She has sung at opera theaters all over Europe, Japan
and the United States (Carnegie Hall in New York),
and has appeared as a guest artist at such festivals
as Wiener Festwochen, Festival Musicatlantico,
Festival Culturel Européen de Rouen, Festival
Ambronay and Festival de Musique Ancienne de
Lyon. She also performs solo parts in oratorio and
cantata works, as well as art song repertoire in duets
with José Brandão or Hein Boterberg. Under the
direction of William Christie, accompanied by Les
Arts Florissants, she has made recordings of works
by M.-A. Charpentier: Judicium Salomonis (Vera
Mater) as well as Motet pour une longue offrande
(EMI/Virgin Classics). She has also collaborated
with Sinfonia Varsovia and Michel Corboz in a
recording of G. Fauré’s Requiem (Mirare).
Photo: Mario Melo Costa
105
Pauline Sabatier
This singer’s talent was recognized by l’Administration des Droits des Artistes et Musiciens Interprètes, which awarded her the Révélation Jeune
Artiste Lyrique title in 2009. Last year, Sabatier
won 2nd Prize in the Béziers Singing Competition.
Previously, the artist appeared at venues including
the opera theaters in Avignon, Besançon (J. Offenbach’s Les brigands) and Limoges (role of Lazuli
in E. Chabrier’s opera buffa entitled L’Etoile), took
part in productions of D. Argenta’s Postcard from
Morocco and C. Susa’s Transformations under stage
director Elsa Rooke; she also performed Chabrier’s
Une éducation manquée, accompanied by the Pelléas
chamber orchestra in Caen.
106
Blandine Staskiewicz
After graduating at the top of her class from the
Conservatoire National de Région in Rennes,
Blandine Staskiewicz enrolled in a six-year course
of study with Peggy Bouveret at the Conservatoire
Supérieur de Musique in Paris. In 2001, she received
the Prix de Chant of the latter institution, won the
Voix d’Or competition, as well as the Concours
International de Chant Baroque in Chimay,
whose jury included William Christie. The fruit of
this success was the singer’s participation in the
conductor’s European tour with Jardin des Voix and
Les Arts Florissants in the 2002/2003 season. While
still a student, Staśkiewicz debuted on the opera
stage (Alisa in G. Donizetti’s Lucia di Lammermoor,
as well as Dorabella in W. A. Mozart’s Così fan
tutte); she also appeared at European music festivals.
Though the artist most often performs at opera
theaters in her homeland of France (Théâtre du
Châtelet, Opéra Comique and Théâtre des ChampsElysées in Paris, as well as in Metz, Toulouse and
Avignon), and also in Western Europe, she recently
made a tour of South America, giving a series of
recitals. She also prepared a special program with
works by E. W. Korngold, which she presented at
the Grand Théâtre in Geneva. Blandine Staskiewicz
has had the opportunity to collaborate with such
artists as Paul McCreesh (title role in G. F. Handel’s
Attalia at the Festival d’Ambronay), Hervé Nicquet,
Marc Minkowski (J. S. Bach’s Mass in B minor)
and J. E. Gardiner (Aloès in E. Chabrier’s L’Etoile
at the Opéra Comique in Paris), as well as with
such ensembles as Orchestre National de Bordeaux
Aquitaine, Concert Spirituel and Ensemble Matheus,
with which she made a recording of A. Vivaldi’s
Orlando furioso, honored with a Victoires de la
Musique award (best disc of 2004). Thanks to the
support of the Meyer Foundation and CNSMDP,
she has recorded her first solo album, containing
Italian arias.
107
Nathalie Stutzmann
Photo: Simon Fowler, Deutsche Grammophon
At a young age, Nathalie Stutzmann received a
thorough musical education; she studied conducting,
piano and bassoon performance, and was involved
in chamber music. Gifted with a rarely-encountered
voice (a natural contralto), she devoted herself to
the vocal arts. She received her first voice lessons
from her mother, Christiane Stutzmann; later, the
artist enrolled at Ecole d’Art Lyrique de l’Opéra
de Paris. Her talent and exceptional personality
have been esteemed by Seiji Ozawa, Sir Simon
Rattle, Mariss Jansons, Sir John Eliot Gardiner,
Christoph Eschenbach, Jukka Pekka Saraste and
Marc Minkowski; under their direction, Stutzmann
has had occasion to perform as a soloist with the
Berlin Philharmonic, Vienna Philharmonic, New
York Philharmonic, London Symphony, Orquesta
Nacional de España, Orchestre de Paris et al. She
has not, however, abandoned conducting, and
since 2009 has led her own ensemble, Orfeo 55.
She has over 75 recordings to her credit. Recently,
she recorded F. Schubert’s Die schöne Müllerin
cycle with Inger Södergren (Calliope), cantatas
by J. S. Bach and J. Brahms’ Alt-Rhapsodie under
Gardiner’s direction (SDG), M. Ravel’s L’Enfant et
les sortilèges with the Berlin Philharmonic (EMI)
and J. S. Bach’s Mass in B minor under Minkowski’s
direction (Naïve). The artist recently signed an
exclusive contract with Deutsche Grammophon –
in April 2011, her album Prima Donna with arias by
A. Vivaldi will be released. This season, Stutzmann
will perform works by G. Mahler frequently at
concerts organized to honor the 100th anniversary
of the composer’s death; her solo parts will include
those in Symphonies nos. 3 and 4 under the baton
of Sir Simon Rattle (Philharmonic Hall in Berlin,
Royal Festival Hall in London, Concertgebouw in
Amsterdam); she is also planning a series of recitals
with German and French songs (Paris, Tokyo,
Madrid) with pianist Inger Södergren. Nathalie
Stutzmann has received the title of Chevalier des
Arts et Lettres. She gives regular master classes.
108
Terry Wey
Born 1985 in Glasgow into a family with musical
traditions, Terry Wey began voice training at an
early age – initially in the Vienna Boys’ Choir, and
then under the direction of Silvija Vojnić-Purchar,
Kurt Equiluz and Christine Schwarz at the Konservatorium Wien Privatuniversität, where he
also studied piano performance. As the winner of
various competitions and recipient of scholarships
from the Migros-Genossenschaftsbund and Kärntner-Sparkasse (Wörthersee-Musikstipendium), he
quickly undertook collaboration with the Clemencic
Consort, Les Musiciens du Louvre, Les Arts Florissants and other leading early music ensembles, which
afforded him the opportunity to have contact with
such conductors as William Christie, Thomas Hengelbrock, Marc Minkowski and Michael Hofstetter.
He has taken part in festivals and concerts at major
musical centers all over the world (Musikverein in
Vienna, Barbican Centre in London, Festspielhaus
in Baden-Baden, Lincoln Center in New York, etc.).
He has prepared diverse interpretations of operatic roles – from Ruggiero (A. Vivaldi, Orlando
furioso) to Oberon (B. Britten, A Midsummer Night’s
Dream), which he has presented at such theaters as
the Staatsoper in Stuttgart, Teatro Real in Madrid
and Théâtre des Champs-Elysées in Paris, under
stage directors Nicolas Brieger, Benjamin Lazar and
Pier Luigi Pizzi. Among the artist’s major successes
in recent years have been his performances at Theater an der Wien in 2009 (with Christine Schäfer
in G. F. Handel’s Partenope, under the direction of
Christophe Rousset), as well as his debut last year at
the Salzburg Whitsun Festival (N. Jommelli’s Betulia liberata, under the direction of Riccardo Muti).
Fascinated with Renaissance polyphony, he founded
the vocal ensemble Cinquecento, with which he has
recorded four albums for the Hyperion label. The
artist has also recorded for Oehms Classics, Carus,
Virgin Classics and Naïve.
109
Colin Balzer
Having studied at the University of British
Columbia under the direction of David Meek and
in Edith Wiens’ studio at the Hochschule für Musik
in Nuremberg, Colin Balzer is the winner of many
awards, including 1st Prizes at the ’s-Hertogenbosch
Competition, Wigmore Hall Song Competition,
Hugo Wolf Competition and ARD Competition,
as well as a gold medal at the R. Schumann
Competition in Zwickau. This versatile vocalist
performs music from many eras, both secular and
religious, to which, in part he owes the development
of his career on an international scale. Balzer has
performed all over Europe, North America and
Asia under the direction of such artists as Simone
Young (B. Britten’s War Requiem at the Aldeburgh
Festival), Phillipe Herreweghe (H. Purcell’s Ode
to St. Cecilia and J. S. Bach’s Passion According to
St. Matthew with Collegium Vocale Gent), Marc
Minkowski (W. A. Mozart’s Idomeneo at the
Bremen Festival, as well as Mass in C minor with Les
Musiciens du Louvre), Louis Langrée (Mozart’s Don
Giovanni at the Aix-en-Provence Festival), Simon
Preston, Marcus Creed (G. F. Handel’s Chandos
Anthems with the Freiburg Baroque Orchestra as
part of the Philadelphia Chamber Music Society’s
concert series), Enoch zu Guttenberg (F. J. Haydn’s
Creation and The Seasons with KlangVerwaltung),
Roberto Abbado (Mozart’s Coronation Mass), Jörg
Peter Weigle (R. Schumann’s Das Paradies und
die Peri), Kenneth Montgomery, Bernard Labadie,
Hans-Christoph Rademann, Leopold Hager and
Helmuth Rilling. This season, aside from numerous
performances in Canada (Toronto, Vancouver,
Québec), he will be hosted in the United States;
for the first time, he will sing at Carnegie Hall in
New York (Handel’s Messiah). The artist performs
art song repertoire with great success, as reflected
by his numerous disc recordings. A recording of
J.-B. Lully’s Psyché made at the Boston Early Music
Festival with his participation was nominated for a
Grammy Award.
110
Emiliano Gonzalez-Toro
This artist was born in Geneva. His Chilean-born
parents made sure that he became acquainted
with American culture. From his youth, GonzalesToro took oboe lessons and sang in the Les Pueri
choir, with which he performed at Geneva’s Grand
Théâtre. Despite making significant progress in
playing his instrument, he took up voice training
in his hometown, which he continued in London
and Nancy. The repertoire of his first solo concerts,
accompanied by French ensembles under the
direction of Michel Sorboz, was comprised of religious
music masterpieces (W. A. Mozart’s Requiem, masses
by F. J. Haydn, G. F. Handel’s Messiah, J. S. Bach’s
Mass in B minor, Passions and Christmas Oratorio).
With an extensive operatic repertoire at his disposal
– in roles from C. Monteverdi’s L’Incoronazione di
Poppea to G. Bizet’s Carmen and R. Strauss’ Salome
– he quickly became a frequent guest at festivals
and opera theaters in France, Holland, Spain and
Portugal, collaborating with such conductors as
William Christie, John Duxbury, Laurent Gay,
Laurent Gendre, Stephan Macleod, Jean-Claude
Malgoire, Christina Pluhar, René Jacobs, Stefano
Molardi, Jan Willem de Vriend, Giovanni Antonini,
Luca Pianca, Alessandro de Marchi, Emmanuelle
Haïm, Pinchas Steinberg, Bernard Têtu and
Emmanuel Joel-Hornak. Such groups as Ensemble
Orlando Fribourg, L’Arpeggiata, Les Talens Lyriques
and Le Concert Spirituel frequently engage the artist
for their recording projects. This season, GonzalezToro will perform in, among other places, the
United States (A. E. M. Grétry’s Le Magnifique, title
role), and begin a two-year tour with A. Vivaldi’s II
Farnace at the Théâtre des Champs-Elysées in Paris.
111
Christian Immler
An education at the Guildhall School of Music
and Drama in London and a 1st Prize at the 2001
Concours international de Chant-Piano Nadia et
Lili Boulanger in Paris opened Christian Immler’s
way to a solo career. Despite the fact that his
abilities are already held in high regard by such
great artists as Marc Minkowski, under whose
direction he sang J. S. Bach’s Mass in B minor in
Santiago de Compostela (concert recorded and
released on CD), Philippe Herreweghe (J. S. Bach’s
Passion According to St. John), William Christie
(M.-A. Charpentier’s David et Jonathas) and
Andrew Parrott (cantatas by G. P. Telemann), he
continues to hone his vocal technique under the
direction of Rudolf Piernay. Aside from solo parts
in oratorio and cantata works from various eras,
Immler has to his credit operatic roles from Seneca
in C. Monteverdi’s L’lncoronazione di Poppea to
Claudio in H. Berlioz’ Béatrice et Bénédict and
Pharnaces in A. Zemlinsky’s Der König Kandaules.
The artist has taken part in major music festivals
and concertized all over the world; recently, he sang
debut recitals at Wigmore Hall and Royal Festival
Hall in London. His discography contains cantatas
by G. H. Stölzel, as well as the Continental Britons
and Kaddish albums made for the Nimbus label,
along with a recording of I. Albéniz’s opera Henry
Clifford, recorded by Decca. In the immediate future
the artist will perform in a production mounted by
the Grand Théâtre in Geneva (U. Chin’s Alice in
Wonderland); at the Berlin Konzerthaus, he will
sing in E. Křenek’s Orpheus; at the Concertgebouw
in Amsterdam with Radio Kamer Filharmonie,
he will perform W. A. Mozart’s Requiem and
Coronation Mass; and with the accompaniment
of Bach Collegium Japan and Masaaki Suzuki, he
will appear in a solo part in G. F. Handel’s Messiah.
He also is working on solo repertoire which he will
present with pianist Helmut Deutsch at King’s Place
in London.
112
Luca Tittoto
This artist studies under the direction of tenor
Beniamino Prior. In 2006, he won the Giuseppe di
Stefano Opera Competition in Trapani, where he
appeared as Don Alfonso in W. A. Mozart’s Così
fan tutte. He manages superbly with early music
performance; among other events, in 2005 he sang
in C. Monteverdi’s L’Incoronazione di Poppea
under the baton of Ottavio Dantone; and in 2007,
in L’Orfeo under the direction of Andrea Marconi
at the Monteverdi festival in Cremona, as well as at
the Aix-en-Provence Festival with René Jacobs. He
is also working on roles in Classical and Romantic
operas (works by W. A. Mozart, G. Rossini, V. Bellini
and G. Puccini). He has to his credit superb
performances of solo parts in oratorio and cantata
works from various eras. He often performs with Marc
Minkowski’s ensemble Les Musiciens du LouvreGrenoble; among other events, they have given a
series of concerts in Europe with works devoted to
St. Cecilia (H. Purcell, F. J. Haydn); they have also
performed J. S. Bach’s Mass in B minor in Santiago
de Compostela. This repertoire has been recorded by
Naïve. Tittoto has also performed with Accademia
Bizantina and Ottavio Dantone at the festival in
Spontini (W. A. Mozart’s Graßmusik KV 42). In
March of this year, he made his United States debut
as Leporello (Mozart’s Don Giovanni, Palm Beach
Opera). He records for Naïve and Harmonia Mundi
(W. A. Mozart’s Idomeneo with René Jacobs).
113
Marc Minkowski
music festivals. He collaborates with the Mahler
Chamber Orchestra, the Berlin Philharmonic,
the Orchestre National de France, the City of
Birmingham Symphony Orchestra, the Orchestre
Philharmonique de Radio France, the Los Angeles
Philharmonic Orchestra, the Orchestre de Paris,
Staatskapelle Dresden et al. Since June 2008, he
has been music director of Sinfonia Varsovia. He
has recorded discs for the Erato, EMI and Archiv
Produktion labels. He is presently under contractual
agreement with the French label Naïve. In 2004, he
received the title of Chevalier du Mérite granted by
the President of France.
This artist studied bassoon performance, then
conducting with Charles Bruck at the Pierre
Monteux Memorial School in the United States.
In 1982, he founded Les Musiciens du Louvre
(since 1996 based in Grenoble), specializing in the
performance of French Baroque music (J.-B. Lully,
J.-P. Rameau, M.-A. Charpentier, M. Marais), as
well as C. Monteverdi, G. F. Handel, C. W. Gluck,
W. A. Mozart and J. Offenbach. Les Musiciens du
Louvre perform regularly on the most important
stages of France (Opéra de Paris, Opéra de Lyon,
Théatre du Châtelet, Théâtre des Champs-Elysées,
festivals in Aix-en-Provence and Beaune), as well
as in Europe’s leading musical centers (London,
Amsterdam, Madrid, Vienna, Salzburg, etc.). Since
2003, Minkowski has been associated with the opera
in Zürich, where he has led G. F. Handel’s Il trionfo
del Tempo e del Disinganno, Agrippina and Giulio
Cesare; G. Donizetti’s La favorita, J.-P. Rameau’s
Les Boréades and L. van Beethoven’s Fidelio. He
is considered to be one of the most distinguished
conductors of his generation and a superb
interpreter of Mozart’s operatic works. Among his
most important renditions of compositions by the
Austrian master are Idomeneo at the Opéra de Paris;
Die Entführung aus dem Serail (with the Mozarteum
orchestra) at the Salzburg Festival; Le nozze di
Figaro (with the Mahler Chamber Orchestra) at
the festival in Aix-en-Provence, in Baden-Baden
and Tokyo; and Die Zauberflöte in Montpellier and
Bochum, as well as at the Opéra de Paris. His broad
repertoire encompasses works from the Baroque to
contemporary times. He pays particular attention to
composers who are little-known (J.-J. Mondonville)
or underappreciated (J. Offenbach). In recent years,
he has increasingly been turning to large symphonic
works. Aside from F. J. Haydn, L. van Beethoven,
F. Schubert and J. Brahms, he particularly
esteems the French masters – H. Berlioz, G. Bizet,
E. Chausson, G. Fauré and N. Boulanger. For
several years now, he has been a regular guest at the
world’s greatest concert halls and most prestigious
114
115
Les Musiciens du Louvre-Grenoble
French music: H. Berlioz (Symphonie fantastique,
Nuits d’été), J. Offenbach (La belle Hélène,
La Grande Duchesse de Gérolstein) and even
G. Bizet (L’Arlésienne – Incidental Music) and
G. Fauré. A significant place in the ensemble’s
repertoire is occupied by operatic works, which
the musicians present frequently and successfully
at music festivals (among others, C. Monteverdi’s
L’Incoronazione di Poppea and W. A. Mozart’s
Die Zauberflöte in Aix-en-Provence) and opera
theaters (C. W. Gluck’s Iphigénie en Tauride
and J.-P. Rameau’s Platée at the Opéra de Paris,
This ensemble, founded in 1982 by Marc
Minkowski, has exerted no small influence on
the revival of interest in Baroque music and its
more tradition-based performance in France. Les
Musiciens du Louvre have not, however, narrowed
their artistic activity – aside from Baroque music
(G. F. Handel, H. Purcell, J.-P. Rameau), they
draw upon Classical works (F. J. Haydn and
W. A. Mozart), as well as music from later periods,
with a particular predilection for 19th‑century
116
G. Bizet’s Carmen and R. Wagner’s Die Feen
at Théâtre du Châtelet). Presenting the highest
level of artistry, this ensemble has made many
foreign tours of Eastern Europe, Spain, Asia and
the United States, as well as – in 2009 – Italy
and, for the first time, Japan. Next season’s plans
include performances at the Salzburg Festival
(W. A. Mozart’s Così fan tutte), the Vienna Opera
(G. F. Handel’s Alcina) and the Opéra Comique
in Paris (J. Massenet’s Cendrillon). Les Musiciens
du Louvre-Grenoble previously recorded for
Deutsche Grammophon (among others, the album
Opera prohibita with Cecili Bartoli); it presently
has contractual ties to the Naïve label.
Les Musiciens du Louvre-Grenoble receive financial support from the City of Grenoble, the Conseil général
de l’Isère, the Région Rhône-Alpes and the French Ministry of Culture and Communication / DRAC
Rhône-Alpes.
Photo: Elisabeth carecchio
117
118
Easter Monday
25 April
119
25 April
Easter Monday, 8:00 PM
ul. Zwierzyniecka 1
Arie e concerti III
Veronica Cangemi, soprano
Stefano Montanari, violin solo
Ottavio Dantone, conductor, harpsichord
Accademia Bizantina
Stefano Montanari, Paolo Zinzani, Ana Liz Ojeda, violin I
Lisa Ferguson, Lathika Vithanage, Mauro Massa, violin II
Diego Mecca, Alice Bisanti, viola
Marco Frezzato, Paolo Ballanti, ’cello
Giovanni Valgimigli, double bass
Ivano Zanenghi, lute
Stefano Demicheli, harpsichord
120
Antonio Vivaldi
1678–1741
Concerto in E-flat major ‘La tempesta di mare’ RV 253
Presto
Largo
Presto
Un raggio di speme
Orlando furioso RV 728
Concerto in A minor RV 522
Allegro
Larghetto e spiritoso
Allegro
Destino avaro
La fida ninfa RV 714
Sinfonia
Arsilda regina di Ponto RV 700
Gelosia, tu già rendi l’alma mia
Ottone in villa RV 719
***
La farfalletta audace RV 749.11
Concerto in C major RV 114
Allegro
Adagio
Ciaccona
Zeffiretti che sussurrate RV 749.21
Concerto in D minor ‘per Pisendel’ RV 242
Allegro
Largo
Allegro
Agitata da due venti
Griselda RV 718
121
Veronica Cangemi
Photo: German Gonzalez Mena – Art Director Fernando Hernandez
This artist was born in Mendoza, Argentina. Before
beginning her career as a singer, she was principal
’cellist of the Mendoza Symphony. After winning
1st Prize at the National Singing Competition in
Argentina and the Francisco Viñas Competition in
Barcelona, Cangemi debuted in C. W. Gluck’s opera
Armida under the baton of Marc Minkowski with
Les Musiciens du Louvre-Grenoble at Versailles.
Since then, her musical interests have focused
mainly on Baroque music and works by Mozart. She
has collaborated with such distinguished conductors
as Giovanni Antonini, Fabio Biondi, William
Christie, Nikolaus Harnoncourt, René Jacobs, Ton
Koopman, Sir Neville Marriner, Zubin Mehta et al.
She has performed at well-known opera theaters,
including the Bayerische Staatsoper in Munich,
Teatro Comunale in Florence, Teatro La Fenice
in Venice, Teatro alla Scala in Milan, and opera
houses in Vienna, Zürich and Brussels. Veronica
Cangemi’s achievements include numerous debuts
on the world’s stages: the title role in G. F. Handel’s
Ariodante (San Francisco), the roles of Musetta in
G. Puccini’s La bohème, Fiordiligi in W. A. Mozart’s
Così fan tutte and Susanna in Le nozze di Figaro
(Théâtre des Champs-Elysées in Paris, Washington
Opera), as well as Micaëla in Bizet’s Carmen
(Japan). Among her numerous recordings, the
most noteworthy are Handel’s Ariodante for
Deutsche Grammophon, for which she received the
Diapason d’Or and Orphée d’Or in 1998, as well as
A. Scarlatti’s opera Griselda for Harmonia Mundi,
awarded a Diapason d’Or in 2006.
122
Stefano Montanari
After graduating with an honors degree in
instrumental performance (violin and piano),
Stefano Montanari completed a special course
in chamber music under the direction of Piero
Narciso Masi at the conservatory in Florence.
He also honed his skills in solo performance with
Carlo Chiarappa at the Conservatorio della Svizzera
Italiana in Lugano, where he later taught from 1993
to 1999. Since 1995, he has been the concertmaster
of Accademia Bizantina. The artist also appears
as first violinist in the Joachim Quartet, which
performs 18th- and 19th-century chamber repertoire
on period instruments. Stefano Montanari teaches
at the Milan conservatory, as well as giving Baroque
violin and chamber music master classes in Parma,
Pesaro and Piacenza. He also collaborates with
Christophe Rousset’s ensemble Les Talens Lyriques.
He has recorded for Denon, Opus 111, Erato, Virgin
Classics, Tactus and Decca.
123
Ottavio Dantone
This artist studied organ and harpsichord
performance at the G. Verdi conservatory in Milan.
He began a regular concert career while still a
student, simultaneously devoting time to studies of
early music and historical performance practice. He
quickly aroused the interest of audiences and critics.
Dantone won the two most important international
harpsichord competitions in Paris (1985) and Bruges
(1986). He is the first and only Italian harpsichordist
to gain international renown. In 1996, the artist
became music director of the Accademia Bizantina
ensemble, with which he is associated to this day. In
1999, he debuted in the operatic repertoire (G. Sarti’s
Giulio Sabino in his own arrangement). Since then,
the director has prepared over a dozen premières
of lesser-known Classical and Romantic works. In
2005, he led an enthusiastically received production
of G. F. Handel’s Rinaldo (stage director Pier Luigi
Pizzi) at Teatro alla Scala. Dantone concertizes as
a soloist and conductor. He performs in the most
important halls all over the world and at the most
prestigious festivals. He has made numerous radio,
television and disc recordings for labels including
Decca (with Andreas Scholl), Harmonia Mundi,
Naïve, Arts, Dynamic and Stradivarius.
124
Photo: Ribaltaluce Studio
125
Accademia Bizantina
its most spectacular successes are productions of
works by G. B. Pergolesi (L’Olimpiade), G. F. Handel
(Orlando) and C. Monteverdi (L’Orfeo, Il ritorno di
Ulisse in patria), which it has presented not only in
Italy, but also in other countries, including France,
Argentina, Brazil, Chile and Uruguay. The activity
of the ensemble (which places particular emphasis
in its choice of repertoire on the legacy of Italian
composers) is documented by recordings for, among
other labels, Decca, Arts, Harmonia Mundi and Naïve
(their album with motets by Vivaldi with Sandrine
Piau won the Midem Classical Award in 2007).
Photo: Ribaltaluce Studio
The ensemble specializes in performance of 17thand 18th-century music on original instruments
and according to historical rules. Since 1996, the
group has been led by Ottavio Dantone. The artists
have concertized at festivals all over Europe, both
Americas, the Middle East, Mexico and Japan.
Presently, the Accademia Bizantina is one of the most
highly-esteemed ensembles in the world. In recent
years, it has also reinforced its position as the most
important Baroque ensemble opera in Italy. Among
126
Artistic Director: Filip Berkowicz
Organisation: Krakow Festival Office
Director: Izabela Helbin
Project coordinator: Robert Piaskowski
31-513 Kraków, ul. Olszańska 7
phone: +48 12 424 96 50, fax: +48 12 424 96 52
e-mail: [email protected]
www.misteriapaschalia.com
www.biurofestiwalowe.pl
ISBN: 978-83-61816-61-4
© 2011, Krakowskie Biuro Festiwalowe
Publisher: Krakowskie Biuro Festiwalowe
Editor: Filip Berkowicz, Magdalena Chrenkoff
Editorial collaboration: Daria Szwed
Graphic design collaboration: Aleksandra Dzieciuch
Translation: Cara Thornton
Proofreading: Danuta Ambrożewicz, Soren Gauger
Graphic design: Witold Siemaszkiewicz
Typesetting: Magdalena Pieczka
Printing: PASAŻ
Advertising sales:
Agnieszka Kaczor-Wyrobek, [email protected], tel.: +48 12 424 96 63
Piotr Krążała, [email protected], tel.: +48 12 617 61 81
Recording of images and/or sound during festival concerts is strictly prohibited.
The organizers reserve the right to make changes in the programme.
136
The Krakow Festival Office
The Krakow Festival Office is a leading Polish promoter of the most renowned cultural events of
national and international significance. It is a municipal cultural institution established in 1997 as the
‘Krakow 2000 Festival Office’ after the City of Krakow was selected as ‘the European City of Culture’
for the year 2000. Its initial task was to ensure the continuity and consistency of activities required
for proper organisation and promotion of the celebrations which marked the turn of the Millennium.
Currently the Office is an organiser of the most prestigious musical festivals in Poland such as: Sacrum
Profanum Festival, dedicated to contemporary music, presenting monographic concerts performed
in post-industrial buildings with repertoire by the most eminent 20th and 21st century composers; the
Misteria Paschalia Festival, closely linked to Holy Week and Easter, considered the most significant
festival in Poland devoted to Early Music. Moreover, the Office manages acclaimed events such as:
Film Music Festival, Opera Rara, International Festival of Independent Cinema Off Plus Camera,
Unsound Festival, Divine Comedy International Theatre Festival, Joseph Conrad International
Literature Festival, Czesław Miłosz Literary Festival, Selector Festival, and huge, open air events
gathering thousands of people such as: Wianki (Floating of the Wreaths) and the WOW!Night – the
New Year’s Eve Party in the Main Square, which are among the largest events of this kind in Poland
and in Europe.
www.biurofestiwalowe.pl
137

program - Misteria Paschalia

Transcription

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