Name: Les Larmes de la ViergeVergine addolorataBlessed virgin’s tears
Start: 2021-07-10T00:00:00.000Z
End: 2021-08-26T00:00:00.000Z
Location: Wiener Konzerthaus

Organization

Les Talens Lyriques

Orchestra

Conductor

Christophe Rousset

Singer

Mezzo-soprano

Ambroisine Bré

Arianna

Soprano

Maria

soprano

Maria Maddalena

Soloist

Les Larmes de la Vierge/Vergine addolorata/Blessed virgin’s tears

Sable-sur-Sarthe

France

Eglise Notre-Dame

Saint-Malo

Cathédrale Saint-Vincent

Milan

Italy

Santa Maria della Passione

Sisteron

Cathédrale Notre-Dame des Pommiers

Vienna

Austria

Wiener Konzerthaus

Les Larmes de la Vierge/Vergine addolorata/Blessed virgin’s tears: Recital Various

Public

Oratorio per la Settimana Santa

Lament of Ariadne

Oratorio della Passione - Gesù al Sepolcro

Maria dolorata

Morte e sepoltura di Cristo

Giunta l'ora fatal (Il pianto di Maria), HWV 234

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Tenor

Bass

Bass-baritone

Countertenor

Baritone

Alto

Child vocalist

Continuo

Silent

Spoken

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Les Larmes de la vierge ~ Les Talens Lyriques

Par une bouleversante incursion dans l’oratorio italien du XVIIe siècle, Christophe Rousset et ses Talens Lyriques offrent à contempler les larmes de la Vierge de douleur. La voix de mezzo-soprano voyage de Naples à Venise, en interprétant des trésors musicaux extraits d’œuvres sacrées de Rossi, Perti, Händel/Ferrandini ou encore Vinci.

Les compositions musicales dépeignant la douleur de la Vierge au pied de la croix sont héritières d’une tradition très ancienne. Au XVIIe siècle, elles trouvent un épanouissement sans précédent à la faveur de la Contre-Réforme, qui place au cœur de sa théologie la dévotion à la figure de la Mater dolorosa, thème qui deviendra ô combien récurrent dans l’art baroque. Dans le même temps, sur la scène de l’opéra, le public italien s’émeut pour les lamentations, ces grandes scènes de déplorations qui trouvent une place de choix dans les ouvrages lyriques.

L’Oratorio, dont Luigi Rossi fut à Rome l’une des grandes figures, fournit parmi les plus belles pages de déplorations de la Vierge, proposant au fidèle une méditation en langue vernaculaire, préférant l’italien au latin. Les airs et lamentations constituent aussi les moments clés des oratorios pour la Passion ou la Semaine-Sainte, quand la composition ne prend pas directement la figure mariale comme sujet principal.

L’écriture de ces pages fait cohabiter la souffrance avec une grande douceur et un tendre recueillement, en jouant sur les affects typiquement baroques et si chers aux Italiens.

français

Through a moving foray into the Italian oratorio of the 17th century , Christophe Rousset and his Talens Lyriques offer us to contemplate the tears of the Virgin in pain. The mezzo-soprano voice travels from Naples to Venice, performing musical treasures taken from sacred works by Rossi, Perti, Handel/Ferrandini and Vinci.

The musical compositions depicting the pain of the Virgin at the foot of the cross are heirs to a very ancient tradition. In the 17th century  , they found unprecedented fulfillment thanks to the Counter-Reformation, which placed devotion to the figure of the Mater dolorosa at the heart of its theology, a theme which would become so recurrent in Baroque art. At the same time, on the opera stage, the Italian public was moved by lamentations, these large scenes of lamentation which find a special place in lyrical works.

The Oratorio, of which Luigi Rossi was one of the great figures in Rome, provides among the most beautiful pages of lamentations of the Virgin, offering the faithful a meditation in the vernacular language, preferring Italian to Latin. The arias and lamentations also constitute the key moments of the oratorios for the Passion or Holy Week, when the composition does not directly take the Marian figure as the main subject.

The writing of these pages brings suffering together with great gentleness and tender contemplation, playing on the typically baroque affects so dear to Italians.

English

Les Larmes de la Vierge/Vergine addolorata/Blessed virgin’s tears by Rossi, Luigi, Monteverdi, Perti, Vinci, Caldara, Händel, Frá (2021/2021), Hljómsveitarstjóri Christophe Rousset, Wiener Konzerthaus, Vienna, Austria

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