Salome Sandovals Voice Graduate Recital
Gods and Mortals
Program notes
The second half of the program is dedicated to the Spanish composer José Melchor Baltasar Gaspar Nebra Blasco (1702-1768) who during the years 1723-30 and 1737-51 composed nearly sixty stage works (to secular and sacred librettos) that were performed to critical acclaim in Madrid and Lisbon. Spanish 18th century opera mixes elements from the golden era of Spanish theater and influences from Italy and France such as the aria da capo and the minuet. Tonights program contains selections from the Opera El amor aumenta el valor (1728) and the Zarzuela Para obsequio a la deydad, nunca es culto la crueldad. Ifigenia en Tracia (1747). The main difference between the opera genre and the Zarzuela is that the second one has spoken texts (which I have not included in this show), as well as the popular character of the dances. Eduardo López Banzo, conductor of the Spanish group Al Ayre Español, has done extensive research, performed and recorded Nebras music; according to him Nebras compositions are of the caliber of Handel and Mozart but with Spanish flavor, because his works represent the compositional ideas of the late Baroque and Early Classical periods as well as the musical forms and harmonic shifts of the Spanish popular music. I have found a deep passion for Nebras music and decided to perform some of these arias (all of which were written for female voices) with some scoring arrangements, since the original score is intended to be for a chamber baroque orchestra. El amor...(Love gives courage) is about Roman politics and love intrigues among various characters, mainly Horacio, Clelia and Porsena. The Roman soldier Horacio was put in prison by the King Porsena for political reasons, and also because Porsena is in love with Clelia, Horacios girlfriend.
The program ends with a character from the opera El Amor... Porsena, a mortal wanting to be a god, who sings of his triumph over Rome, and displays his power with long melismatic lines in a style that resembles early bel canto.
Translation:
Aria: It would be easier for the wind to move a big stone. It would be easier for a deep dark cave to sing soft melodies, than for me to give up Rome, the city that wants to take from me the life that has given me before. If I attempt to keep peace, believe me, it will only be to preserve the throne and the establishment in which my glory will be triumphant.
Guest Artists (in alphabetical order): Karen Burciaga, treble viol; Edith Cockley, baroque violin; Doug Freundlich,
theorbo; Peter Geiersbach, tenor viol and baroque cello; Hannah Davidson, treble viol; Teri Kowiak, as Cupid; Dan Meyers, recorders; Jennifer Norman, as Iphigenia; Ellis Reyes, baroque bassoon; Josh Schreiber Shalem, bass viol; Alastair Thompson, harpsichord and organ.
Production crew: vocal coaching: Laurie Monahan; additional vocal coaching: Thomas Meglioranza, Stephen Stubbs, Ellen Hargis and Ricard Bordas; stage coaching: Mercedes Rengifo; costume production: Leonor Strauss and Salome Sandoval; costume assistants: Mercedes Rengifo and Jaya Lakshminarayanan; props: Teri Kowiak and Salome S.; light and stage design: Salome S.; Stage production: David Kalan, Jennifer Norman, Dori Smith and Salome S.; lights and stage manager: Jessica Rossi.
Special thanks to: Mercedes Rengifo, Mike McNutt, Frances Fitch, Laurie Monahan, Jane Hershey, Kinny Earle, Rob Ferrell, all the amazing performers and everyone who made this concert possible.
Longy School of Music. April 8th 2010
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Llegar ninguno intente - Zarzuela barrocaby Nevoet1,411 views
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lboyd001 9 months ago