Joyce DiDonato and Michael Spyres star in Handel’s Jephtha – the composer's valedictory oratorio.
Keywords: Baroque Opera, Young Musicians
| Il Pomo d'Oro | |
| Francesco Corti | Conductor |
| Michael Spyres | Jephtha |
| Joyce DiDonato | Storge |
| Mélissa Petit | Ipihis |
| Cody Quattlebaum | Zebul |
| Jasmin White | Hamor |
| Il Pomo d'Oro Choir |
| Jephtha | Georg Friedrich Händel |
These events are similar in terms of concept, place, musicians or the program.
Rousing dynamics, magnificent choruses and beguiling arias: »Jephtha« is the last of George Frideric Handel’s oratorios. He composed this grandiose late work in London almost blindfolded. The Monteverdi Choir Hamburg, which is very familiar with Handel’s choral works, will be joined by renowned soloists led by Icelandic star tenor Benedikt Kristjánsson and Concerto Köln under the direction of Antonius Adamske. The work and the cast promise an emotional concert evening. By the way: Handel’s tragic story of Jephtha fortunately ends well! This is thanks to the librettist Thomas Morell, who ensured that Jephtha’s daughter, who is doomed to be sacrificed, is saved by an angel.
Even before George Frideric Handel began his oratorio »Solomon«, he apparently knew that he would have more musicians than usual at his disposal for the premiere. And so Handel took every liberty in his composition, writing for a large wind section, additional strings and powerful double choirs. The subject is made for legendary (sonic) richness: Handel places the biblical King Solomon at the centre of the action and thus the most important stages in the life of the wise ruler – the first act opens with grandiose choruses of joy at the building of the temple in Jerusalem. The second act is full of drama, in which King Solomon has to decide between two women who are fighting over a child. In a touching aria, the composer reveals the real mother’s renounced love. And in the finale, none other than the Queen of Sheba appears to philosophise with King Solomon about the power of music.
With the oratorio »The Messiah« by George Frideric Handel, the Hamburger Oratorienchor performs one of the most popular works of sacred music in the Christian West with a large cast and accompanied by the Symphoniker Hamburg shortly before Easter. Composed by Handel in 1741, the three-part oratorio was adapted by Mozart in 1789 for performance in princely private rooms, and parts of it were rearranged. It was already a common practice in the Baroque era, but also in Mozart’s time, to arrange works for the respective performance, taking into account the instrumentation and quality of the respective orchestra. Mozart’s arrangement is an example of the listening habits of his time, and he took advantage of the new possibilities for orchestration, since some wind instruments had developed technically.
The British Guardian called the ensemble Les Musiciens du Louvre »one of the best orchestras in the world«. Founded in 1982 by the conductor and oboist Marc Minkowski, it is not the Louvre’s official orchestra – no such ensemble exists. But the reference to the world-famous Parisian museum already illustrates the musicians’ mission: to bring the art of earlier centuries to life at the highest level. Appropriately enough, their forthcoming guest appearance in Hamburg at Easter features a Handel oratorio about the Resurrection of Christ. Composer George Frideric Handel found himself in a double bind in 1708. Firstly, the Pope had imposed a complete ban on opera performances because he feared a series of earthquakes meant that the end of the world was imminent, and restricted sinful entertainment in favour of religious art. This was a problem for Handel, who was an opera man to the core, both artistically and financially. Secondly, he wanted to present a piece about the Resurrection punctually for the Easter weekend, but having Jesus Christ appear on stage in person was an even greater taboo than opera per se. Pragmatic as ever, Handel arrived at the following solution: in his original oratorio »La Resurrezione«, angels and the Devil, apostles and Mary Magdalene debate about the Crucifixion. And in the end, the music itself turned out quite operatic after all.
George Frideric Handel, a true European, a superstar of the Baroque era, composed music in abundance – including the »Messiah« with the world-famous »Hallelujah«. At the Laeiszhalle, the Carl-Philipp-Emanuel-Bach-Choir Hamburg, together with the Dresdner Kapellsolisten and renowned soloists, will perform it as a prelude to the new season – as a sing along!
Messiah, composed in 1741 by George Frideric Handel with a libretto by Charles Jennens, tells the story of Jesus Christ in three parts, from prophecies to his birth, life, death, resurrection and eternal life. Combining texts from the Old and New Testaments, the oratorio consists of moving arias and powerful choruses, offering reflection on this "greatest story ever told", especially during Advent, and serves as a festive prelude to Christmas.
Experience the first chamber concert of the season in the extraordinary setting of Hangar 4 at the former Tempelhof Airport. Following this year's MESSIAH production, musicians from the Komische Oper Berlin orchestra, along with mezzo-soprano Karolina Gumos, present masterworks by Handel, including the impressive cantata Donna, che in ciel and the aria Haec est Regina virginium. The program is rounded off by works of other Baroque greats such as Antonio Vivaldi and Henry Purcell. In the monumental industrial hall, Baroque sounds merge with the raw aesthetics of the historical location, transforming the concert into an unforgettable experience. Experience Baroque anew!
The Concertgebouw is right at the heart of Dutch music. That is why we love to welcome the best amateur orchestras and choirs of the Netherlands. To an amateur musician a performance at the Concertgebouw is always special, often marking the end of an extensive period of rehearsals. Please note: although these concerts are of a high standard, they are not performed by professional ensembles.
Christmas time evokes the Baroque era's highlights: Vivaldi's "Four Seasons," timeless and captivating, and Handel's "Water Music," magnificent and richly orchestrated. What better way to embrace the Christmas spirit and its longing for harmony?
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