L'empio, sleale, indegno from Handel's Giulio Cesare

Young American countertenor Gerrod Pagenkopf performs Tolomeo's first aria from Giulio Cesare in Egitto. With Jeremy Ludwig as Achilla. Accompanied by Keith Chambers, with stage direction by Nina Scott-Stoddart for Halifax Summer Opera Workshop, 2007.

Category:

Entertainment

Tags:

• aria
• cesare
• chambers
• early
• gerrod
• giulio
• Halifax
• handel
• jeremy
• keith
• ludwig
• music
• opera
• pagenkopf
• summer
• workshop
• nina
• scott
• stoddart
• countertenor

[wellbn1]

Bravo!

[purcellist]

Love it! Powerful ct voice. Don't mind the "modern" here at all... if having a "modern" production and an historically informed Baroque production produced at the same time (three major "Rodelindas" at once a while back comes to mind) means the work gets out to more of the public - that countertenors from all over the world get more recognition - I'm all for it.

[SalieriLives]

Super! The stage presence and warm countertenor voice of a Michael Chance. I wish him all the best in his career. Looks like a bright future for Mr. Pagenkopf. Did a wonderfully funny job with PDQ Bach as the "bargan counter tenor"! Check it out on Amazon.

[ikpmom]

Wow, I went to high school with him and was in the same choir, but I didn't know he was this good.

[nicksum29]

IAN CADDY. GOOGLE IT. Read your messages more carefully next time. I trust you do not treat you lecturers with similar disdain.

[CountertenorJ]

So no.  Got it.

[nicksum29]

Google it.

[CountertenorJ]

While that is all and well, and I am not saying that it isn't the case, I would really like some concrete sources to back this information up on. When I teach my classes and my students ask me how I know this information, I can't just tell them "Some guy on YouTube told me."  :-)

[nicksum29]

The term "dramatic actor" has a very different connotation in our modern times. Baroque text does not lend itself to modern realism. To authentically reproduce the intentions of the great Italian librettists, one must keep in mind the Baroque idea of acting. A good indication of the kinds of movement expected of a good actor can be gleaned from Baroque dance steps. To be "real" is not Baroque. To be true to the art form is a more Baroque ideal. Ian Caddy can help you here.

[CountertenorJ]

Do you have any sources for this? I am interested in learning more about this. I was under the impression from my studies that the castrati were often, such as the case of Guadagni, better and more dramatic actors than they were singers.