Organization

Conductor

Katharina Wolff

David Stern

Singer

Soprano

Iryna Kyshliaruk

Jennifer Courcier

Bass

Olivier Gourdy

Soloist

Guillaume Cuiller

Oboe

Violin

Jerome Huille

Cello

Kenneth Weiss

Harpsichord

Opera Fuoco

Orchestra

Orchestre Opera Fuoco

FEVIS

Apollo e Dafne. Concert Fuoco Obbligato

Ecouen

France

National Museum of the Renaissance

Apollo e Dafne: Dafne in Lauro Fux (+1 More)

Public

Private

Daphne in Laurel

Apollo e Dafne, HWV 122

Approved

In this chamber program, Fuoco Obbligato highlights the splendid use by Handel and his contemporaries of arias with obbligato instruments. Amore's first aria in Johann Joseph Fux's opera Dafne in Lauro, composed five years after Apollo e Dafne, replaces the lost overture to Handel's magnificent work, precursor of his immense operatic oeuvre. In it Cupid boasts of his irresistible powers which are reenforced by the solo cello line. He is then challenged by Apollo, who asserts at the start of Handel's dramatic cantata that his weapons are more powerful than the arrows of this winged foe. As the story unfolds, Apollo's pursuit of the beautiful nymph Dafne brings us face to face with the contemporary problem of unbalanced, non-consensual relationships. In the duet A war rages in my breast, Dafne expresses her refusal to be abused in this way, as well as her unshakeable allegiance to the chaste goddess Diana. Although they share the same melody, their feelings and words could not be more discordant. In order to be saved from Apollo's advances, Dafne is transformed into a laurel tree, losing both her form and her voice. Apollo pays tribute to the beautiful nymph in his sentimental final lament, and declares that he will crown the greatest heroes with her laurels. To conclude Fuoco Obbligato’s rendition of Ovid‘s myth, a second aria from the opera Dafne in Lauro finally offers us a moral and the fiery Amore returns to the stage with an aria full of mischievous exchanges between oboe and violin, during which he concedes, in a brief but heartfelt adagio, that despite his many tricks, it is virtue that has the greatest value.

English

Dans ce programme chambriste, Fuoco Obbligato met en lumière la splendide utilisation faite par Handel et ses contemporains des airs avec instruments obligés.Le premier air d’Amore dans l’opéra Dafne in Lauro de Johann Joseph Fux, composé cinq ans après Apollo e Dafne, remplace l’ouverture perdue du la magnifique cantate de Haendel, annonciatrice de son immense œuvre lyrique. Cupidon y vante ses pouvoirs irrésistibles au travers de la ligne de violoncelle solo. Commence alors la cantate dramatique de Händel : Apollon défie Cupidon, affirme que ses armes sont plus puissantes que les flèches de son adversaire ailé. Au fil de l’histoire, la poursuite par Apollon de la belle nymphe Dafne nous confronte au problème contemporain des relations déséquilibrées et du non consentement. Dans le duo A war rages in my breast, Dafne exprime son refus d’être abusée de la sorte, ainsi que son allégeance inébranlable à la chaste déesse Diane. Bien qu’elles partagent la même mélodie, leurs sentiments et leurs paroles ne pourraient être plus discordants. Pour échapper à la traque d’Apollon, Dafne se transforme en laurier, perdant à la fois sa forme et sa voix. Apollon rend hommage à la belle nymphe dans sa dernière complainte sentimentale et déclare qu’il couronnera de ses lauriers les plus grands héros.Pour conclure l’interprétation du mythe d’Ovide par Fuoco Obbligato, un deuxième air de l’opéra Dafne in Lauro nous offre une morale dans laquelle le fougueux Amore revient sur scène lors d’un échange malicieux entre le hautbois et le violon, et concède, dans un adagio bref mais sincère, que malgré ses nombreuses ruses, c’est la vertu qui a la plus grande valeur.

français

Apollo e Dafne. Concert Fuoco Obbligato by Fux, Händel, From (2023/2023), Conductor Katharina Wolff, David Stern, National Museum of the Renaissance, Ecouen, France

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