
Articles
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1 week ago |
musicomh.com | Sam Smith
The Early Opera Company conducted by Christian Curnyn at St George’s, Hanover Square. George Frideric Handel’s Floridante, HWV 14, with an Italian language libretto by Paolo Antonio Rolli, premiered at London’s King’s Theatre on 9 December 1721. Rolli’s libretto is based on Francesco Silvani’s own for Marc’Antonio Ziani’s La costanza in trionfo of 1696, and the fictitious story is set in ancient Persia.
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2 weeks ago |
musicomh.com | Sam Smith
Inspired by the Baroque, but Romantic to its core. Felix Mendelssohn’s first oratorio St Paul, Op. 36 may not be well known in the United Kingdom, but it enjoys regular outings in Germany and was extremely popular in its day. Premiering on 22 May 1836 in Düsseldorf, within a year it had seen performances across Europe and in America in both the original German and an English translation.
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3 weeks ago |
musicomh.com | Sam Smith
A 19th century rarity receives an outing at Cadogan Hall. Édouard Lalo’s Le roi d’Ys, with a libretto by Édouard Blau, is based on the old Breton legend of the downfall of Ys, a mythical city on the coast of Brittany that was swallowed up by the sea. There are various versions of the story, and the opera works from some of these to present its own concerning how the city came to be threatened.
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3 weeks ago |
musicomh.com | Sam Smith
A cantata and oratorio receive the operatic treatment at the London Handel Festival. George Frideric Handel wrote the cantata Apollo e Dafne, HWV 122 and the oratorio The Choice of Hercules, HWV 69 around40 years apart in 1709-10 and 1750 respectively. In this London Handel Festival event presented by La Nuova Musica, directed by David Bates, and New English Ballet Theatre, both are staged.
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1 month ago |
musicomh.com | Sam Smith
The big questions of life explored at St George’s, Hanover Square. George Frideric Handel wrote his first oratorio Il trionfo del Tempo e del Disinganno, HWV 46a in Rome in 1707. The tale it presents may be allegorical, but the arguments the characters put forward make them feel complex and consequently real.
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