Teatro Alla Scala 6 May 2019 - Monteverdi Choir & English Baroque Soloists | GoComGo.com

Monteverdi Choir & English Baroque Soloists

Teatro Alla Scala, Milan, Italy
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Monday 6 May 2019
8 PM
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Important Info
Type: Classical Concert
City: Milan, Italy
Starts at: 20:00
Duration:

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Programme
George Frideric Handel: Monteverdi Choir & English Baroque Soloists
Overview

Evening in the aid of Fondazione Opera San Francesco per i Poveri ONLUS
 

PROGRAMME

Georg Friedrich Händel - Semele

  • Secular Oratorio in three acts

Semele (HWV 58) is a 'musical drama', originally presented "after the manner of an oratorio", in three parts by George Frideric Handel. Based on a pre-existent opera libretto by William Congreve, the work is an opera in all but name but was first presented in concert form at Covent Garden theatre on 10 February 1744. The story comes from Ovid's Metamorphoses and concerns Semele, mother of Bacchus. Handel also referred to the work as 'The Story of Semele'.

 

 

History
Premiere of this production: 10 February 1744, Covent Garden Theatre, London

Semele is a 'musical drama', originally presented "after the manner of an oratorio", in three parts by George Frideric Handel. Based on a pre-existent opera libretto by William Congreve, the work is an opera in all but name but was first presented in concert form at Covent Garden theatre on 10 February 1744. The story comes from Ovid's Metamorphoses and concerns Semele, mother of Bacchus. Handel also referred to the work as 'The Story of Semele'.

Synopsis

Precis:

Jupiter, King of the gods, takes the mortal Princess Semele to a secret hiding place on a mountain to be his mistress. When Jupiter's wife, Juno, hears of her husband's adultery she is enraged, and plots to ensure Semele's downfall. In disguise, Juno appeals to the girl's vanity and persuades her to insist on seeing her lover in his divine form. Jupiter reluctantly agrees but his thunderbolts burn and consume Semele. From her ashes, though, arise her unborn child by Jupiter – Bacchus, god of wine and ecstasy.

Act 1

Scene: Greece, in legendary antiquity

The scene is the temple of Juno. Near the altar is a golden image of the goddess

In the temple of Juno, Cadmus, King of Thebes, is preparing for the marriage of his daughter Semele to Athamas, Prince of Boeotia. Signs from the goddess indicate she approves of the match (Accompanied recitative: Behold! Auspicious flashes rise and chorus: Lucky omens bless our rites.) However, the bride has been inventing one excuse after the other to put off the wedding and her father and would-be bridegroom urge her to hesitate no longer (Duet: Daughter, hear! Hear and obey!) To herself, Semele reflects on her dilemma – she does not wish to marry Prince Athamas as she is in love with Jove himself and calls on him to assist her (Accompanied recitative: Ah me!What refuge now is left me?, arioso: O Jove! In pity teach me which to choose and aria: The morning lark). Athamas, observing her, takes her physical signs of emotional upheaval as evidence she is in love with him (Aria: Hymen, haste, thy torch prepare). Ino, Semele's sister, now appears, also in a state of distress as she is in love with Athamas (Quartet: Why dost thou thus untimely grieve?) Jupiter has heard Semele's prayer and his thunderbolts interrupt the proceedings and alarm the observers (Chorus: Avert these omens, all ye pow'rs). The priests of Juno order the wedding abandoned and everyone to leave the temple (Chorus: Cease, cease your vows), which all do except for Athamas, in despair at his wedding being cancelled, and Ino, hopelessly in love with him (Aria: Turn, hopeless lover). Athamas can see she is upset, without guessing why, and he can feel for her in her distress because he is upset too (Aria: Your tuneful voice my tale would tell). Athamas is astonished when she tells him bluntly that she loves him (Duet: You've undone me). Cadmus interrupts their confusion and describes the extraordinary event he has just witnessed: as they fled the temple Semele was suddenly carried off by an eagle (Accompanied recitative: Wing'd with our fears). The priests and augurs identify this eagle as Jupiter himself (Chorus: Hail Cadmus, hail!). As the act ends, Semele is seen enjoying her role as the god’s new mistress (Aria: Endless pleasure, endless love).

Act 2

Scene One

A pleasant country, the prospect terminated by a beautiful mountain adorn'd with woods and waterfalls. Juno and Iris descend in different machines. Juno in a chariot drawn by peacocks; Iris on a rainbow; they alight and meet.

Juno, suspicious of her husband's conduct, has sent her helper Iris to find out what she can. Iris reports that Jove has installed Semele as his mistress in a palace atop a mountain (Aria: There, from mortal cares retiring). The outraged Juno swears to have revenge (Accompanied recitative: Awake, Saturnia, from thy lethargy!). Iris warns her it will not be an easy task – the palace is guarded by dragons that never sleep (Accompanied recitative: With adamant the gates are barr'd). Juno decides that she and Iris will pay a visit to the god of sleep in his cave, in order to get magical assistance to put the dragons to sleep (Aria:Hence, Iris, hence away).

Scene Two

An apartment in the palace of Semele. She is sleeping, Loves and Zephyrs waiting.

Semele awakes and regrets that the dream she was having of being with her lover has ended (Aria: O sleep, why dost thou leave me?). When Jupiter enters, in the form of a young man, she tells him how difficult it is for her when he is absent. He explains that she is a mortal, unlike him, and needs to rest from their love-making from time to time. He attempts to assure her of his fidelity (Aria: Lay your doubts and fears aside). Semele sings of her passionate love for him (Aria: With fond desiring). The chorus of Loves and Zephyrs sing of lovers' joys (Chorus: How engaging, how endearing). Semele, however, is beginning to be unhappy that her lover is a god and she a mere mortal. This sign of an ambition to immortality from Semele worries Jupiter who decides he must distract her from such thoughts (Aria: I must with speed amuse her). The Loves and Zephyrs advise Semele to put aside worries and enjoy the delights of love while she can (Chorus: Now Love that everlasting boy invites). Jupiter has arranged for Semele's sister Ino to be magically transported to the palace, to keep her company, and promises that the gardens and environs will be paradise (Aria: Where'er you walk). He leaves, and Ino appears, describing the wondrous experience of being flown there by winged zephyrs (Aria: But hark, the heav'nly sphere turns round). The sisters sing of the joy they are experiencing, hearing the music of the spheres (Duet: Prepare then, ye immortal choir) and nymphs and swains declare that this part of the earth has become a heaven (Chorus: Bless the glad earth).

Act 3

Scene One

The Cave of Sleep. The God of Sleep lying on his bed.

Juno and Iris arrive and wake Somnus (Accompanied recitative:Somnus, awake), to his displeasure (Aria: Leave me, loathsome light). He only gets out of bed when he hears Juno mention the beautiful nymph Pasithea (Aria: More sweet is that name). Juno promises he will have the nymph if he will lend her magical aid to put the dragons that guard the palace where Semele is ensconced as her husband's mistress to sleep and transform her into the likeness of Semele's sister Ino. Somnus agrees (Duet: Obey my will).

Scene Two

An Apartment. Semele alone

Semele is still feeling rather unhappy about the discrepancy between herself and her lover (Aria: My racking thoughts). Juno, in the form of Semele's sister Ino, enters and feigns astonishment at Semele's increased beauty. She exclaims that Semele must have become a goddess herself and gives her a mirror (Behold in this mirror). Semele is enraptured by her own beauty (Aria: Myself I shall adore). "Ino" advises Semele to insist that Jupiter appear to her in his real, godlike form, and that will make her immortal herself (Accompanied recitative: Conjure him by his oath). Semele is very grateful for this advice (Aria: Thus let my thanks be paid). "Ino" leaves and Jupiter enters, eager to enjoy Semele (Aria: Come to my arms, my lovely fair) but she puts him off (Aria: I ever am granting). He swears to give her whatever she desires (Accompanied recitative: By that tremendous flood, I swear) and she makes him promise to appear to her in his godlike form (Accompanied recitative: Then cast off this human shape). He is alarmed and says that would harm her (Aria: Ah, take heed what you press), but she insists he keep his oath (Aria: No, no, I'll take no less) and leaves. Jupiter knows this will mean her destruction and mourns her impending doom (Accompanied recitative: Ah, whither is she gone). Juno triumphs in the success of her scheme (Aria: Above measure is the pleasure).

Scene Three

The scene discovers Semele under a canopy, leaning pensively, while a mournful symphony is playing. She looks up and sees Jupiter descending in a cloud; flashes of lightning issue from either side, and thunder is heard grumbling in the air.

Semele, granted her wish to see Jupiter in his true godlike form, is consumed by his thunderbolts, and as she dies she regrets her own foolishness and ambition (Accompanied recitative: Ah me! Too late I now repent). Watching this, the priests of Juno express their amazement (Chorus: Oh, terror and astonishment!). Athamas is now glad to accept Ino as his bride (Aria: Despair no more shall wound me). The god Apollo descends on a cloud and announces that the unborn child of Semele and Jupiter will arise from her ashes (Accompanied recitative: Apollo comes, to relieve your care). The child will be Bacchus, god of wine and ecstasy, a god "more mighty than love". All celebrate the fortunate outcome (Chorus: Happy, happy shall we be).

Musical features
The pleasure-loving and vain Semele is aptly characterised through Handel's music. The work contains one of Handel's most famous arias, the lyrical "Where'er you walk" for the tenor, with words from Alexander Pope's "The Pastorals". Comedy is interwoven into the drama, notably in the scene in the cave of the god of sleep. The monumental chorus "O terror! and astonishment" after Semele's death shows the influence of the earlier English composer Henry Purcell.

Jupiter, King of the gods, takes the mortal Princess Semele to a secret hiding place on a mountain to be his mistress. When Jupiter's wife, Juno, hears of her husband's adultery she is enraged, and plots to ensure Semele's downfall. In disguise, Juno appeals to the girl's vanity and persuades her to insist on seeing her lover in his divine form. Jupiter reluctantly agrees but his thunderbolts burn and consume Semele. From her ashes, though, arise her unborn child by Jupiter—Bacchus, god of wine and ecstasy.

Act 1
Scene: Greece, in legendary antiquity

The scene is the temple of Juno. Near the altar is a golden image of the goddess

In the temple of Juno, Cadmus, King of Thebes, is preparing for the marriage of his daughter Semele to Athamas, Prince of Boeotia. Signs from the goddess indicate she approves of the match (Accompanied recitative: Behold! Auspicious flashes rise and chorus: Lucky omens bless our rites.) However, the bride has been inventing one excuse after the other to put off the wedding and her father and would-be bridegroom urge her to hesitate no longer (Duet: Daughter, hear! Hear and obey!) To herself, Semele reflects on her dilemma—she does not wish to marry Prince Athamas as she is in love with Jove himself and calls on him to assist her (Accompanied recitative: Ah me!What refuge now is left me?, arioso: O Jove! In pity teach me which to choose and aria: The morning lark). Athamas, observing her, takes her physical signs of emotional upheaval as evidence she is in love with him (Aria: Hymen, haste, thy torch prepare). Ino, Semele's sister, now appears, also in a state of distress as she is in love with Athamas (Quartet: Why dost thou thus untimely grieve?) Jupiter has heard Semele's prayer and his thunderbolts interrupt the proceedings and alarm the observers (Chorus: Avert these omens, all ye pow'rs). The priests of Juno order the wedding abandoned and everyone to leave the temple (Chorus: Cease, cease your vows), which all do except for Athamas, in despair at his wedding being cancelled, and Ino, hopelessly in love with him (Aria: Turn, hopeless lover). Athamas can see she is upset, without guessing why, and he can feel for her in her distress because he is upset too (Aria: Your tuneful voice my tale would tell). Athamas is astonished when she tells him bluntly that she loves him (Duet: You've undone me). Cadmus interrupts their confusion and describes the extraordinary event he has just witnessed: as they fled the temple Semele was suddenly carried off by an eagle (Accompanied recitative: Wing'd with our fears). The priests and augurs identify this eagle as Jupiter himself (Chorus: Hail Cadmus, hail!). As the act ends, Semele is seen enjoying her role as the god's new mistress (Aria: Endless pleasure, endless love).

Act 2
Scene One

A pleasant country, the prospect terminated by a beautiful mountain adorn'd with woods and waterfalls. Juno and Iris descend in different machines. Juno in a chariot drawn by peacocks; Iris on a rainbow; they alight and meet.

Juno, suspicious of her husband's conduct, has sent her helper Iris to find out what she can. Iris reports that Jove has installed Semele as his mistress in a palace atop a mountain (Aria: There, from mortal cares retiring). The outraged Juno swears to have revenge (Accompanied recitative: Awake, Saturnia, from thy lethargy!). Iris warns her it will not be an easy task—the palace is guarded by dragons that never sleep (Accompanied recitative: With adamant the gates are barr'd). Juno decides that she and Iris will pay a visit to the god of sleep in his cave, in order to get magical assistance to put the dragons to sleep (Aria:Hence, Iris, hence away).

Scene Two

An apartment in the palace of Semele. She is sleeping, Loves and Zephyrs waiting.

Semele awakes and regrets that the dream she was having of being with her lover has ended (Aria: O sleep, why dost thou leave me?). When Jupiter enters, in the form of a young man, she tells him how difficult it is for her when he is absent. He explains that she is a mortal, unlike him, and needs to rest from their love-making from time to time. He attempts to assure her of his fidelity (Aria: Lay your doubts and fears aside). Semele sings of her passionate love for him (Aria: With fond desiring). The chorus of Loves and Zephyrs sing of lovers' joys (Chorus: How engaging, how endearing). Semele, however, is beginning to be unhappy that her lover is a god and she a mere mortal. This sign of an ambition to immortality from Semele worries Jupiter who decides he must distract her from such thoughts (Aria: I must with speed amuse her). The Loves and Zephyrs advise Semele to put aside worries and enjoy the delights of love while she can (Chorus: Now Love that everlasting boy invites). Jupiter has arranged for Semele's sister Ino to be magically transported to the palace, to keep her company, and promises that the gardens and environs will be paradise (Aria: Where'er you walk). He leaves, and Ino appears, describing the wondrous experience of being flown there by winged zephyrs (Aria: But hark, the heav'nly sphere turns round). The sisters sing of the joy they are experiencing, hearing the music of the spheres (Duet: Prepare then, ye immortal choir) and nymphs and swains declare that this part of the earth has become a heaven (Chorus: Bless the glad earth).

Act 3
Scene One

The Cave of Sleep. The God of Sleep lying on his bed.

Juno and Iris arrive and wake Somnus (Accompanied recitative:Somnus, awake), to his displeasure (Aria: Leave me, loathsome light). He only gets out of bed when he hears Juno mention the beautiful nymph Pasithea (Aria: More sweet is that name). Juno promises he will have the nymph if he will lend her magical aid to put the dragons that guard the palace where Semele is ensconced as her husband's mistress to sleep and transform her into the likeness of Semele's sister Ino. Somnus agrees (Duet: Obey my will).

Scene Two

An Apartment. Semele alone

Semele is still feeling rather unhappy about the discrepancy between herself and her lover (Aria: My racking thoughts). Juno, in the form of Semele's sister Ino, enters and feigns astonishment at Semele's increased beauty. She exclaims that Semele must have become a goddess herself and gives her a mirror (Behold in this mirror). Semele is enraptured by her own beauty (Aria: Myself I shall adore). "Ino" advises Semele to insist that Jupiter appear to her in his real, godlike form, and that will make her immortal herself (Accompanied recitative: Conjure him by his oath). Semele is very grateful for this advice (Aria: Thus let my thanks be paid). "Ino" leaves and Jupiter enters, eager to enjoy Semele (Aria: Come to my arms, my lovely fair) but she puts him off (Aria: I ever am granting). He swears to give her whatever she desires (Accompanied recitative: By that tremendous flood, I swear) and she makes him promise to appear to her in his godlike form (Accompanied recitative: Then cast off this human shape). He is alarmed and says that would harm her (Aria: Ah, take heed what you press), but she insists he keep his oath (Aria: No, no, I'll take no less) and leaves. Jupiter knows this will mean her destruction and mourns her impending doom (Accompanied recitative: Ah, whither is she gone). Juno triumphs in the success of her scheme (Aria: Above measure is the pleasure).

Scene Three

The scene discovers Semele under a canopy, leaning pensively, while a mournful symphony is playing. She looks up and sees Jupiter descending in a cloud; flashes of lightning issue from either side, and thunder is heard grumbling in the air.

Semele, granted her wish to see Jupiter in his true godlike form, is consumed by his thunderbolts, and as she dies she regrets her own foolishness and ambition (Accompanied recitative: Ah me! Too late I now repent). Watching this, the priests of Juno express their amazement (Chorus: Oh, terror and astonishment!). Athamas is now glad to accept Ino as his bride (Aria: Despair no more shall wound me). The god Apollo descends on a cloud and announces that the unborn child of Semele and Jupiter will arise from her ashes (Accompanied recitative: Apollo comes, to relieve your care). The child will be Bacchus, god of wine and ecstasy, a god "more mighty than love". All celebrate the fortunate outcome (Chorus: Happy, happy shall we be).

Venue Info

Teatro Alla Scala - Milan
Location   Via Filodrammatici, 2

Teatro Alla Scala is an opera house in Milan. Most of Italy's greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala. The theatre is regarded as one of the leading opera and ballet theatres globally. It is home to the La Scala Theatre Chorus, La Scala Theatre Ballet, La Scala Theatre Orchestra, and the Filarmonica della Scala orchestra.

The Teatro alla Scala was founded, under the auspices of the Empress Maria Theresa of Austria, to replace the Royal Ducal Theatre, which was destroyed by fire on 26 February 1776 and had until then been the home of opera in Milan. The cost of building the new theatre was borne by the owners of the boxes at the Ducal, in exchange for possession of the land on which stood the church of Santa Maria alla Scala (hence the name) and for renewed ownership of their boxes. Designed by the great neoclassical architect Giuseppe Piermarini, La Scala opened on 3 August 1778 with Antonio Salieri's opera L'Europa riconosciuta, to a libretto by Mattia Verazi.

With the advent of Rossini in 1812 (La pietra del paragone), the Teatro alla Scala was to become the appointed place of Italian opera seria: of its history dating back more than a century and of its subsequent tradition up till the present. The catalogue of Rossini's works performed until 1825 included: Il turco in Italia, La Cenerentola, Il barbiere di Siviglia, La donna del lago, Otello, Tancredi, Semiramide and Mosé. During that period the choreographies of Salvatore Viganò (1769-181) and of Carlo Blasis (1795-1878) also widened the theatre's artistic supremacy to include ballet.

An exceptional new season of serious opera opened between 1822 and 1825, with Chiara e Serafina by Gaetano Donizetti (1797-1848) and Il pirata by Vincenzo Bellini (1801-1835). The later operas of Donizetti performed at La Scala were (until 1850) Anna Bolena, Lucrezia Borgia, Torquato Tasso, La fille du régiment, La favorita, Linda di Chamonix, Don Pasquale, and Poliuto. These were followed (until 1836) by Bellini's I Capuleti e i Montecchi, Norma, La sonnambula, Beatrice di Tenda and I puritani.

In 1839 Oberto Conte di San Bonifacio inaugurated the cycle of operas by Giuseppe Verdi (1813-1901), the composer whose name is linked more than any other to the history of La Scala. After the dismal failure of Un giorno di regno, Nabucco was performed in 1842. It was the first, decisive triumph of Verdi's career. At the same time, the strong patriotic feelings stirred by Nabucco founded the "popularity" of opera seria and identified its image with the Scala.

Arturo Toscanini (1867-1957) became the artistic director and introduced radical reform into the theatre, both in its organisational aspects and in its relations with the public. Toscanini, one of the greatest conductors of all time, took up Verdi's musical inheritance and launched a tradition of interpretation that continued uninterruptedly and was renewed during the twentieth century. It was he who reappraised and regularly performed at the Scala the works of Richard Wagner (hitherto only belatedly and inadequately recognised). He also firmly extended the Scala's orchestral repertoire to include symphonic music.

In 1948 maestro Guido Cantelli (1920-1956) made his debut and established himself as one of the leading postwar conductors. Numerous opera performances productions (the Wagnerian cycle conducted in 1950 by Wilhelm Furtwängler, the Verdi repertoire by Victor De Sabata, etc), concerts (Herbert von Karajan, Dimitri Mitropoulos, Bruno Walter, etc), singers (Maria Callas, Renata Tebaldi, Giuseppe Di Stefano, Mario Del Monaco, etc), ballet performances (Margot Fonteyn, Serge Lifar, Maya Plissetskaya, Rudolf Nureyev), and productions (Luchino Visconti, Giorgio Strehler) belong not only to the history of the Scala, but to that of the history of musical theatre since the war.

In 1965 Claudio Abbado made his début at the Scala and in 1972 was named conductor of the Scala Orchestra. Until 1986 he directed among other works Il barbiere di Siviglia, Cenerentola, L'Italiana in Algeri by Rossini, Simon Boccanegra, Macbeth and Don Carlo by Verdi, the recent Al gran sole carico d'amore by Luigi Nono, and Pelléas et Mélisande by Claude Debussy. He also conducted numerous concerts. The chorus-master was Romano Gandolfi. In 1975 the ballet dancer Oriella Dorella debuted at La Scala. Among other contemporary composers, up till 1986 the Theatre continued to give works by Luciano Berio (La vera storia), Franco Donatoni (Atem) and Karlheinz Stockhausen (Samstag aus Licht).

In 1981 Riccardo Muti debuted at the Scala as an opera conductor (Mozart, Le nozze di Figaro). Giulio Bertola was appointed to direct the Chorus. In 1982 the Orchestra Filarmonica della Scala was established. In 1985 Alessandra Ferri made her debut at the Scala. In 1986 Riccardo Muti was appointed musical director. From 1989 to 1998 he reintroduced the best-loved works (Rigoletto, La traviata, Macbeth, La forza del destino) and numerous other titles by Verdi including Falstaff and Don Carlo.

In 1991 Roberto Gabbiani took over the directorship of the chorus. In 1997 La Scala was converted into a Foundation under private ownership, thus opening a decisive phase of modernisation.

On 7 December 2001 a new production of Otello, conducted by Muti, concluded the Verdi Year and, for the time being, performances at Piermarini’s original building in Piazza Scala. Major restoration and modernisation works of the Theatre began in January 2002.

The 2005-2006 Season, dedicated to the 250th anniversary of Mozart’s birth, was inaugurated by Idomeneo conducted by Daniel Harding. The 2006/07 season saw the return on 7 December of an opera by Verdi, Aida, conducted by Riccardo Chailly, and the launch of the Celebrations for the 50th Anniversary of Arturo Toscanini’s Death. On 7 December 2007 the 2007/08 season opened with Tristan und Isolde conducted by Daniel Barenboim. The opera marked the beginning of a closer collaboration between the Teatro alla Scala and the Israeli-Argentinian Maestro.

Important Info
Type: Classical Concert
City: Milan, Italy
Starts at: 20:00
Duration:
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