— Early Music Concert Series —
A wide selection of arias written for Faustina, star opera singer of the 18th century, together with sparkling opera overtures and symphonies.
Friday 23 October 2015 19:30 — Mendel’s refectory, Augustinian Abbey (Mendel Museum), Mendlovo náměstí 1a, 602 00 Brno, Czech Republic.
|Giovanni Batista Pergolesi (1710 – 1736)|| Ouverture (L’Olimpiade 1738)|
Allegro assai e spiritoso — Andante ma poco — Allegro
|Aria: Tu di saper procura (L’Olimpiade 1738)|
|Johann Adolph Hasse (1699 – 1783)||Aria: Tu me da me dividi barbaro (La clemenza di Tito, 1738)|
|Johann Gottlieb Graun (1703 – 1771)|| Sinfonia in D|
Allegro assai e spiritoso — Andante ma poco — Presto
|Johann Adolph Hasse (1699 – 1783)||Rec. acc. & Aria: Son pur sola & Desio che nel seno (Arminio, 1745)|
|Jörn Boysen (*1976)|| Ouverture in F (mixed German style, 1730s)|
Ouverture — Bourrées 1 & 2 — Rondeau — Menuets 1 & 2 — Harlequinade
|Georg Friedrich Händel (1685 – 1759)||Aria: L’armi implora dal tuo figlio (Alessandro, 1726)|
|Jörn Boysen (*1976)|| Affettuoso in g|
(Sturm und Drang, C. P. E. Bach, the sixties of the 18th century)
|Giovanni Batista Pergolesi (1710 – 1736)||Aria: Tu me da me dividi barbaro (L’Olimpiade, 1738)|
Opera stars are not a new phenomenon. Born to a servant and his wife in a Venetian attic flat, the soprano Faustina Bordoni turned into the most famous singer of the first half of the 18th century. The audience had fallen in love with her brilliant and flexible voice. In a performance of Bononcini’s Astianatte in 1727, a riot broke out in the audience between her followers and those of her “rival’ soprano Francesca Cuzzoni in the King’s Theatre, Haymarket, in front of Caroline, Princess of Wales. This furore seized the public imagination and a great deal of journalistic exaggeration.
In 1730, she married the German composer and singer, Johann Adolf Hasse, and the following year the couple were summoned to the court of Augustus the Strong at Dresden, where Faustina enjoyed a great success in her husband’s opera Cleofide. They were described by the famous librettist Metastasio as a “truly an exquisite couple”. Together with her husband, Faustina traveled throughout Europe to great acclaim. Apart from her husband, celebrated composers as Pergolesi, Albinoni, Bononcini and Händel wrote some of their most beautiful arias for her.
Soprano Yana Mamonova graduated with distinction in 2004 from the State Glinka Conservatoire (Novosibirsk, vocals class of Professor Zhukova). In 2006 she began a postgraduate study there in chamber singing under Professor Baranova, which she completed with distinction.
Since 1996, she has been a soloist with the Novosibirsk State Philharmonic Society, frequently appearing in concert with the Insula Magica early music ensemble. She has participated in master classes given by Emma Kirkby, Deborah York and Christoph Prégardien.
Yana’s musical preferences lie with composers of the 17th and 18th centuries, among them Monteverdi, Rossi, Bach (Mass in B Minor), Händel (Alexander’ Feast, Messiah, Acis and Galatea, Ode to St. Cecilia), Mozart (Requiem), Vivaldi (Gloria), cantatas by Scarlatti, Pergolesi and Rameau and Couperin (Leçons de ténèbres). However, alongside genres of chamber music from the Renaissance (Dowland) and Baroque, including the Russian Baroque, the singer’s repertoire includes works by 19th and 20th century composers, featuring rarely performed pieces by Gubaidulina and Hindemith (Das Marienleben). Stravinsky’s ballet cantata Les Noces under Theodor Currentzis marked her 2004 debut at the Novosibirsk Opera and Ballet Theatre.
The roles of Susanna in Le nozze di Figaro and Despina in Così fan tutte by Mozart followed the same year. In 2006 and 2007, she took part in a production of Mozart’s Don Giovanni (conducted by René Jacobs) in addition to concert programmes under Konrad Junghänel and René Jacobs as part of the Early Music Festival in Innsbruck, Austria. 2008 saw the start of her collaboration with the Schleswig-Holstein Music Festival in Germany.
Yana Mamonova’s recital activities are closely connected with such renowned musicians as René Jacobs, Konrad Junghänel, Rolf Beck, Emma Kirkby, Peter Phillips and Theodor Currentzis among others, thus continually stimulating her career and resulting in enviable success as a performer.
The ‘Early Music’ or ‘Historical Performance Practice’ movement strives for a historically appropriate style of performance on the basis of surviving scores, treatises, instruments and other contemporary evidence. While, to begin with, it mainly concentrated on performing repertoire from Renaissance and Baroque, today the movement has spread to include Classical and Romantic repertoires. Although, initially, the movement was small and clearly distinct from the conventional classical music scene, some early-music conventions have been widely accepted and absorbed by the mainstream classical music market during the last two decades. However, in the same process musicians have lost interest in research and experiment and formed a mainstream of historically informed performance practice, which heavily relies on established clichés of “historical” practices. Musica Poetica swims against this tide and strives to renew the radicalism of the movement’s first decades. Boysen is convinced that the best possible understanding of the music from this time and its different styles, as well as a high technical standard of playing, will lead to convincing and stirring performances. Thus, he combines results from his own research and experiments with interesting repertoire and a distinct musicality.
Audience response during and after live performances, and the number of very positive reviews of Musica Poetica’s work seem to confirm Boysen’s belief that critical research of historical sources, analysis of the works and adequate rehearsal periods are not simply boring theory exercises, but rather help to communicate with the audience.
In 2015 Musica Poetica will begin her own concert series at the Koninklĳke Schouwburg (Royal Theatre) in Den Haag. The group’s performance schedule so far has included concerts and live radio broadcasts in Germany, France, Spain, Czech Republic and the Netherlands. Musica Poetica performs regularly in festivals and concerts around Europe such as the Schleswig-Holstein Musikfestival, Festival Mitte Europa, International Buxtehude Festival Lübeck, Itinéraire Baroque and the Holland Festival Oude Muziek.
Musica Poetica has recorded several CDs with music from the Düben Collection, works by Christian Flor and Carl Philipp Emanuel Bach.
Harpsichordist, conductor and composer Jörn Boysen was born in Lübeck, Germany, in 1976. After his studies at the Musikhochschule Lübeck he went to the Netherlands where he studied with Tini Mathot and Ton Koopman at the Royal Conservatory in The Hague. As founder and director of Musica Poetica, guest conductor, soloist or continuo player he regularly performs in Germany, the Netherlands and France. He was invited to European festivals as the Festival Mitte Europa, Göttinger Händel Festspiele, Delft Chamber Music Festival, Itinéraire Baroque and the Utrecht Festival Oude Muziek. Boysen worked with Alina Ibragimova, Lisa Ferschtman and Bart Schneemann and regularly performs with Johannette Zomer (Tulipa Consort) and Antoinette Lohmann (Furor Musicus).
Critics describe his harpsichord playing as “…affective…, dynamic…” and “…of délicatesse…”.
Boysen conducted productions of the O. T. Opera Rotterdam (Orfeo Intermezzi, 2005) and the Utrechtse Spelen (Molière’s/Charpentier’s Imaginary Invalid, 2009 and 2011) for whose productions he has also composed music. In 2012 he was music director of Opéra Mosset in France. For that production he arranged J. Offenbach’s Belle Hélène for salon orchestra.
In addition, Boysen composed various orchestral, chamber and vocal works and music for harpsichord. His song cycle Schattenwind on texts from the eponymous collection of poems by German painter and writer Rainer Erhard Teubert has been premiered in March 2010 in Boysen’s home town Lübeck. For the Concert Series Oude Muziek Nieuw (Early Music New) he completed Bach’s St. Mark Passion by composing all missing recitatives, turba-choirs and arias. The press wrote about this completion: “Finally a convincing alternative to all the other reconstructions. It is even a serious alternative to Bach’s own St. John and St. Matthew Passions.”
Boysen’s works have been performed by Musica Poetica and soloists of the Berlin Philharmonics and the Residentie Orchestra in The Hague, amongst others.
Apart from his work as a performer, he is artistic director of Musica Antica da Camera in The Hague which presents five concert series each year.
The concert takes place with financial support from the Ministry of Culture of the Czech Republic and the Statutory City of Brno.