HVEM & HVAD: Højmesse med Herlufs Vokaler. Musik af Monteverdi samt satser fra Palestrinas Missa Brevis
Herlufs Vokaler & Scandinavian Sackbuts And Cornets. Karsten Gyldendorf, Dir
Ved orglet Christian Kampmann Larsen
HVEM & HVAD: I Fagiolini - 'Flaming Heart'
"Denne suveræne samling af af madrigaler rummer både ekstatisk ømhed og lidenskabelige højdepunkter. Musikken kommer til live med overvældende intensitet."
The Daily Telegraph
"..I Fagiolini’s The Full Monteverdi revealed a new side to this music: a Monteverdi of both beauty and horror, colourful, vivid, sometimes chaste, sometimes dirty, and always completely alive."
Læs om udgivelsen 'Flaming Heart' her
LÆS MERE OM:
Winner of the Royal Philharmonic Society Ensemble Award, 2005
Grounded in the classics of Renaissance and Twentieth-century vocal repertoire, I Fagiolini is renowned for its innovative and often staged productions of this music. It has staged Handel with masks, Purcell with puppets, and in 2004 premiered The Full Monteverdi, a ground-breaking dramatised account of the composer’s Fourth Book of Madrigals (1603) by John La Bouchardière, since turned into a highly successful film shown all over the world. In 2006 I Fagiolini toured its South African collaboration Simunye and in 2009 created Tallis in Wonderland, a new way of hearing polyphony with live and recorded voices.
I Fagiolini’s recording on Decca Classics, 'Monteverdi: The Other Vespers', was released in April 2017.
Amuse-Bouche (French Choral Delicacies) was released in April 2016, was CD of the Month for Gramophone Magazine and shortlisted for a Gramophone Award. It includes the world premieres of Roderick Williams arrangement of the Adagio from Ravel Piano Concerto in G and Ode à la Gastronomie with an accompanying film by Jean Françaix: “entirely fresh and unexpected, a recording that’s a bit sexy, a bit silly and absolutely, unmissably superb.”
In 2011, I Fagiolini semi-staged Purcell King Arthur with the English Concert and released the world premiere recording of Striggio Mass in 40 Parts on Decca which stayed at the top of the specialist classical chart for nearly four months and won the 2011 Gramophone Early Music Award and a Diapason d’or de l’année.
2012 featured a Royal Albert Hall Prom debut, a new production for Opera North with shadow puppetry, The Little Match Girl Passion by David Lang, and the release of 1612 Italian Vespers (Gramophone CD of the Month) premiering multi-choir music by Viadana and a reconstructed Gabrieli Magnificat. It also saw the launch of yet another unlikely collaboration, How Like An Angel (HLAA), this time with Australian contemporary circus company, C!RCA. HLAA premiered as part of the Perth International Arts Festival, premiered in New York and continues to tour throughout the UK and EU.
2014-15 included debuts at the new Sam Wanamaker Playhouse ( Shakespeare’s Globe), Carnegie Hall and I Fagiolini’s first tour of Australia with Musica Viva, as well as another collaboration with John La Bouchardière, Betrayal: a polyphonic crime drama. Sung to the music of Gesulado, this immersive theatre work with dancers and singers was set in ‘crime scenes’ and premiered at the Barbican in May 2015.
Forthcoming projects and performances include the return of Striggio 40 Part Mass to Florence, a year-long celebration of Monteverdi’s 450th anniversary, Living Monteverdi, featuring Flaming Heart, 1610 Vespers, The Other Vespers, and L’Orfeo along with a virtual reality project, films, and education work.
The name I Fagiolini continues to be misspelt and mispronounced wherever it goes from Africa to Australia. I Fagiolini has recorded 22 discs and five films and is delighted to be Ensemble-in-Residence at the University of York.
Robert Hollingworth, Conductor
Robert has spent much of his life looking for ways to share his love of Renaissance and 20th/21st century music, often by creating ground-breaking projects which present music to audiences in innovative ways. He founded I Fagiolini in 1986; with them he has presented their signature projects including Simunye, The Full Monteverdi, Tallis in Wonderland, and How Like An Angel (with Australian contemporary circus group C!RCA), and Betrayal: a polyphonic crime drama (for singers and dancers based on the music of Gesualdo), which premiered at the Barbican in May 2015.Norddeutscher Rundfunk Chor, Nederlands Kamerkoor, Narodowe Forum Muzyki, Wrocław (Acis & Galatea), Symphonieorchester Wuppertal (Judas Maccabeus) and Monteverdi L’Orfeo in Venice. In 2016 he conducted the Danish National Vocal Ensemble in a new conceptual project, Angels and Demons, and makes his debut with RIAS Kammerkoor in 2018.
In 2011, his world premiere recording of Striggio Mass in 40 Parts was released on Decca with an all-star UK line-up, remaining at the top of the specialist classical chart for nearly four months and winning the 2011 Gramophone Early Music Award and a Diapason d’or de l’année. 1612 Italian Vespers was released on Decca in June 2012 and was chosen as Gramophone CD of the Month and was performed live in the 2012 BBC Proms at the Royal Albert Hall. Robert arranged the music for the album Shakespeare: The Sonnets and appeared extensively on BBC TV and radio discussing the disc. Amuse-Bouche (French Choral Delicacies) was released on Decca Classics in April 2016, was CD of the Month for Gramophone Magazine, and shortlisted for a 2016 Gramophone Classical Music Award. It includes the world premiere and film of Jean Françaix 12-voice Ode à la gastronomie: “entirely fresh and unexpected, a recording that’s a bit sexy, a bit silly and absolutely, unmissably superb.” (Gramophone) 2017 album releases include Peerson Grave Chamber Music with Fretwork and Monteverdi: The Other Vespers, in collaboration with Monteverdi’s 450th anniversary and the 2017 tour, ‘Living Monteverdi’.
Robert has worked on a number of films and writes and presents for BBC Radio 3 (CD Review, The Early Music Show, The Choir and Discovering Music). In 2012 he ran a conducting masterclass and lecture for the American Choral Directors’ Association conference and was the Special Guest Director & speaker at the Association of British Choral Director’s 30th annual convention (2015). His MA in solo-voice-ensemble singing at the University of York (where he is a Reader in Music) is now in its fourth year.
Flaming Heart: All Music Review by James Manheim
The group I Fagiolini ("The Green Beans") is British, not Italian, dating back to a student ensemble formed at Oxford University in the 1980s. The booklet notes ask straightforwardly why, with the profusion of spectacular Italian (and, they might have added, French) takes on Monteverdi's music over the last few years, an English contribution is needed; part of the answer refers justifiably to the group's sheer love of Monteverdi's music. It need not have defended this approach, for this disc definitely fills a niche. Many of the new Italian Monteverdi recordings either focus on a large single work or are parts of sets that chronologically cover the composer's music, but Flaming Heart is intended as a single-disc introduction to the composer, reaping the benefits of the insights that historical performance and a close attention to Monteverdi's treatment of texts have brought. The group's execution of this concept is superb. It involves putting the texts front and center in all the works on the recording, an approach that somewhat blurs the usual distinction between earlier and later Monteverdi works, between the older-style madrigal and the declamatory "seconda prattica," linked to the birth of opera, that Monteverdi honed to perfection.
For I Fagiolini, the paramount importance of text lies behind a long evolution that began before the invention of opera in 1600, and the performances embody this idea beautifully. Sample the Book IV madrigal Anima mia, perdona (track 3) as it catches fire and leads into the speaker's passionate identification with a lover's weeping -- in I Fagiolini's reading, the chains of chromaticism don't come off like Gesualdo but rather breathe the freer spirit of the later madrigals, and they are extraordinarily powerful.
The program covers madrigals from several different books, as well as excerpts from the opera Orfeo, which receive an imposing, spacious treatment from a larger instrumental ensemble. One can imagine hearing the Orfeo music presented outdoors in one of the great formal gardens of the Italian aristocracy, and then moving inside for the emotional intensity of the madrigals. In short, if you're looking to try one new Monteverdi disc, this one makes a fabulous choice.
HVEM & HVAD: Operaforestilling: Antonio Vivaldi: 'Il Giustino'
Giustino: Steffen Jespersen (counter tenor) – Arianna: Beate Mordal (soprano)
Anastasio: Fanny Kempe (mezzo) – Amanzio: Frøy Hovland Holtbakk (soprano)
Leocasta: Julia Ojansivu (soprano) – Vitaliano: Johan Olsson (tenor)
LÆS MERE OM:
Operaen ‘Il Giustino’
Næstved Early Music Festival - NEMF præsenterer barokoperaen ‘Il Giustino’ af italienske Antonio Vivaldi, 17-19. august.
Vivaldi som særligt er berømt for alle sine violinkoncerter blandt andre ‘De fire Årstider’ skrev også en lang række sjældent opførte operaer. NEMFs kunstneriske leder, violinist Peter Spissky har valgt operaen 'Il Giustino', der handler om bonden Giustino, som redder en prinsesses liv og derpå bliver involveret i nogle magtkampe om kejsertronen i Konstantinopel.
Det er lykkedes NEMF at få fat på italienske Deda Cristina Colonna til at instruere operaen i Næstved med nogle af skandinaviens mest lovende sangere. Colonna var i 2015 nomineret til en Reumert for en anden Vivaldi-opera under Copenhagen Opera Festival
Instruktør: Deda Cristina Colonna
Musikalsk ledelse: Peter Spissky
Orkester: Camerata Øresund
Giustino: Steffen Jespersen (counter tenor)
Arianna: Beate Mordal (soprano)
Anastasio: Fanny Kempe (mezzo)
Amanzio: Frøy Hovland Holtbakk (soprano)
Leocasta: Julia Ojansivu (soprano)
Vitaliano: Johan Olsson (tenor)
Deda Cristina Colonna, Opera Director
Deda Cristina Colonna, Opera Director
Deda Cristina Colonna is a director and choreographer; her favourite repertoire is Baroque and Classical opera, as well as all the works through-composed. Her style is deeply influenced by her own stage experience, with a special expertise in baroque dance, rhetorical gesture and period acting. Although it is based on historically informed practice , her work reaches out to today's audiences through the use of a modern stage style, influenced also by drama and other forms of contemporary theater.
Deda Cristina Colonna graduated in classical ballet at Civico Istituto Musicale Brera (Novara) and at Ecole Supérieure d’Etudes Chorégraphiques (Paris). She graduated from the Sorbonne, specialising in Renaissance and Baroque Dance. Later she graduated from the acting school of Teatro Stabile di Genova and acted in productions from Shakespeare to Chekhov and Genet in Italy, France and Germany. She has worked with the company Theater der Klänge (Düsseldorf) and was a soloist and guest choreographer with the New York Baroque Dance Company.
As a director she created original works, among which Voluptas Dolendi - I Gesti del Caravaggio, from the 15th and 16th Centuries Tetraktys ovvero la prima età del mondo (Teatro Verdi, Trieste), and has choreographed and / or staged over 25 works, among which, recently: Ottone in Villa by F. Vivaldi (Copenhagen Opera Festival: nomination for the Reumert Award for best opera 2014), Il Giasone by F. Cavalli and Il Matrimonio Segreto by D. Cimarosa (Drottningholm Palace Theatre), L'Incoronazione di Poppea by C. Monteverdi and Gesualdo-Shadows by the contemporary composer Bo Holten (Copenhagen Royal Opera/Takkelloftet), Armide by J.B. Lully (Innsbruck Festival of Early Music / Music Festival Potsdam Sanssouci), Nina, o sia la Pazza per Amore by G. Paisiello and Comala by P. Morandi for Vadstena-Akedemien (Sweden), Didone Abbandonata by L. Vinci (Opera Florence / Maggio Musicale Fiorentino). She has been teaching baroque dance, gesture and acting for over 25 years and has taught courses and master classes in various Institutions in Italy and abroad. In 2014 she was Guest Visiting Professor at University of Stockholm/Performing Premodernity.
She was Director of the Dance School of Civico Istituto Brera in Novara, Italy from 2008 to 2013. Her research in baroque dance have been published in the acts of various international conventions and in the trade press. She works in Italian, English, French, German and Spanish.
HVEM & HVAD: Festival Orkestret 'The Musical Mafiosi' - Afslutningskoncert
Peter Spissky leder Festival Orkestret med musikere fra hele Europa i en grande finale.
Næstveds borgmester Carsten Rasmussen afslutter Festivalen.
LÆS MERE OM:
Peter Spissky, violin & Artistic direction
Peter Spissky, violin & Artistic direction
Peter Spissky studied violin at the Music Academy in Bratislava, Slovakia (soloist diploma 1991), and the Music Academy in Malmö, Sweden, where he received a soloist diploma in 1995. From 1988, parallel with his modern violin studies, he intensively researched in historical performance practice and 1999 was appointed a concertmaster in Concerto Copenhagen, the leading baroque orchestra in Europe. With CoCo, Peter is involved in concert tours (i.e. Musikverein in Vienna, Concertgebouw Amsterdam, USA and Japan) and recordings with conductors such as Lars Ulrik Mortensen, Paul Hillier, Andrew Lawrence-King and Alfredo Bernardini.
Apart from his concertmaster position in Concerto Copenhagen, Peter Spissky is a musical director of Camerata Øresund, orchestra of young generation players based in Copenhagen/Malmö. Camerata has launched their official debut in November 2010 with a series of concerts called “Bach on the Bridge” (hinting on the Oresund bridge connecting south Sweden with Denmark), including Bach violin concertos. Between 2000-2010 he made a great success with the chamber group Baroque Fever, known for its extrovert energetic shows, bringing the early music to the new younger audiences.
As a guest concertmaster/conductor he appears regularly with Barokkanerne in Oslo, Baroque Aros in Aarhus, Skalholt Bach Consort in Iceland, Finnish Baroque Orchestra, Jönköping Sinfonietta, Ostrobothnian Chamber Orchestra, and Tallinn Chamber Orchestra. As a violinist he participates in Barokksolistene (Oslo), Solamente naturali (Baratislava), Festspiel Orchester Göttingen and Boston Early Music Festival Orchestra (with Stephen Stubbs and Paul Odette).
Peter Spissky is a teacher in baroque violin at the Musikhögskolan i Malmö, Det Kongelige Danske Musikkonservatorium in Copenhagen and gives Master Classes all around Scandinavia.
In September 2010 he was accepted at the Lund University for an artistic research program, leading to a doctorate.
Barokensemblet Camerata Øresund blev startet i 2010 og samler den nyeste generation af barok musikere som har studeret på Konservatorierne i Øresundsregionen, eller er flyttet hertil for at starte en karriere i områdets spændende musik miljø. Camerata Øresunder blevet kendt for sin kommunikative og energiske spillestil, og sin unge eksplosive entusiasme. Ensemblets musikere har alle specialiseret sig i historisk opførelsespraksis og ledes af violinisten og barokspecialisten Peter Spissky. Camerata Øresund lægger stor vægt på den fleksible interaktion mellem musikerne og nyder at både skabe og formidle musikken i det levende øjeblik af opførslen.
Lige fra starten har Camerata Øresund lagt vægt på at finde og præsentere unge talenter, både instrumentalister og sangere. Peter Spisskys entusiastiske pædagogiske aktivitet på Musikhögskolan i Malmö, DKDM og MGK, har tiltrukket unge musikere og givet dem et kreativt og musikalsk tiltag til tidlig musik. Og strømmen af talenter fortsætter.