Теги: Christoph Spering, Хольцбауэр, опера

Ignaz Jacob Holzbauer

(1711 - 1783)

Il Figlio delle Selve

Праздничная пастораль в 3 действиях на слова Carlo Sigismondo Capece (1753)

Elmira - Melba Ramos · Arsinda - Maria Rodriguez 

Lucilla - Sabina Martin · Ferindo - Gunther Schmid

Teramene - Gunnar Gudbjornsson

Das Neue Orchester - Christoph Spering

Монпелье 21 июля 2005 года

https://yadi.sk/d/IdcVGTl8RiFX5

Elmira - Anna Korandi · Teramene - Gunnar Gudbjornsson

Arsinda - Maria Rodriguez · Ferindo - Gunther Schmid

Lucilla - Sabina Martin

Шветцинген, 17 мая 2003 года

https://yadi.sk/d/8miz5B3SRiMXP

Опера о Тарзане-"Золушке" образца 18 века.

О постановке в Шветцингене:

The opera was originally commissioned by Prince Carl Theodor of Mannheim in the summer of 1753, for the inauguration of his theater in Schwetzingen. The production by Georges Delnon was first seen at the 2003 Schwetzingen festival, and was conducted by Christoph Spering with Das Neue Orchester in the pit on July 21.

The opera house in Schwetzingen was notable for the inspired and eclectic range of operas that Prince Carl Theodor presented. Holzbauer's work while essentially an old-fashioned opera seria manages to combine within its structure elements of tragedy, comedy and pastoral, which in the eighteenth century were genres that were normally kept strictly separated. Musically the composer is equally adventurous, with some passages reminding the audience of the reforms which Gluck was to introduce in the 1760s. The story tells of the hapless Teramene who loses his throne and is ship wrecked on an uninhabited corner of the island of Lesbos, where his son Ferindo grows up as a sort of latter day Tarzan - the so-called "son of the woods" of the opera's title. Unbeknown to Teramene, his wife, Arsinda, also dodged death and is living dressed as a man in the court of the new queen, Elmira, awaiting her moment of vengeance. It is Lucilla, Elmira's chamber maid, who stumbles across Ferindo in the woods and provides him with his first contact with the opposite sex - a delightful moment that dramatically foreshadows another nineteenth-century hero's discovery of womankind in Wagner's Siegfried. Through the usual tangle of plotting and counter-plotting, all ends happily, with Teramene regaining his island and his wife, and Ferindo finding true love in the arms of Elmira.

Georges Denon's production was unashamedly gag ridden with witty costumes, smoking prima donnas and all the rather familiar cultural updates, but the story was well told and the layered staging - with an attractive woodland scene - looked good in the Opéra Comédie. Denon's main attention was lavished on Ferindo and his transformation from a long haired jungle boy to a wise, conciliatory prince. This intellectual growth was admirably played by the strong-voiced countertenor Gunther Schmid, who gave the most remarkable performance of the evening. As Ferindo's gnarled father, Teramane, the tenor Gunnar Gudbjörnsson sounded intermittently stressed by the technical demands of his music. Sopranos Melba Ramos, Maria Rodriguez, and Sabina Martin all created strong meaningful characters as Elmira, Arsinda and Lucilla, respectively, but with the occasional exception of Ramos no one provided the vocal thrills that Holzbauer's rather foursquare music needs to elevate it to memorable status. Spering conducted Das Neue Orchester stylishly but a degree more flexibility might have allowed his singers to make stronger impressions.

О постановке в Монпелье (фр.) <=

МП3 211+166 МБ

http://mshare.ru/815592967

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Хольцбауэр. Освобождённая Ветулия

4 концерта для флейты · 5 симфоний

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