Name: Matthäus Passion, BWV 244
Start: 2023-04-02T00:00:00.000Z
End: 2023-04-02T00:00:00.000Z
Location: Teatro de la Maestranza

Organization

Maestro

Lionel Meunier

Cantor

Tenor

Raphael Höhn

Evangelist

Soprano

Zsuzsi Tóth

Gwendoline Blondeel

Contralto

Alexander Chance

Alto

William Shelton

Florian Sievers

Raffaele Giordani

Baixo

Sebastian Myrus

Bass

Felix Schwandtke

Teatro Maestranza

Orchestra

Freiburger Barockorchester

Others

Vox Luminis

Matthäus Passion, BWV 244 -  (Paixão segundo São Mateus)

Sevilha

Espanha

Festival de Música Antigua de Sevilla

Teatro de la Maestranza

Sala Principal

Matthäus-Passion Bach,JS

Public

Paixão segundo São Mateus

Approved

Accordionist

Instrumentista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Continuo

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 Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Ator

Broadcasting

Cenógrafo

Chefdirigent Musiktheater

Chorus Director

Compositor

Coral

Coreógrafo

Dançarino

Designer de Iluminação

Designer de Som

Designer de Vídeo

Diretor de Palco

Dramaturgo

Estilista

Estilista de cabelo

Extra

Illustrator

Libretista

Maquiador

Mestre de Coro

Orchestra Operations

Orquestra

Other

Photographer

Poet

Produtor executivo

Repetidor

Stage Manager

Teacher

Tradutor

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Barítono

Baixo-barítono

Contratenor

Mezzo-soprano

Silent

Spoken

Vocalista Infantil

A moving operatic piety

The passion and death of Christ narrated musically like no one has ever done it again. Apotheosis of Johann Sebastian Bach together with the Mass in B minor, the Passion according to Saint Matthew , BWV 244 immerses us in a deeply spiritual, pietistic, moving, poetic experience.

And yet, after its performance on April 15 - Good Friday - 1729 in the Church of Saint Thomas in Leipzig without the means required by the Kantor, although some researchers have placed the premiere two years earlier, in 1727, the The work was rejected because its alternation of recitatives and arias and its innovative musical language sounded too "operatic" in the severe ears of reactionism at the time.

Until 1736, Bach made corrections to the work. And as of 1750, after his death, that monument of sacred music of all time, formed by its two parts with 68 numbers, disappeared, was swallowed up by oblivion, like Bach himself, until in a famous episode of History of Music, Mendelssohn, in an abridged version, played it again in Berlin in 1829. Since then, the San Mateo, whose libretto is supported by a mixture of the Gospel of San Mateo in Luther's translation with poems by Christian Friedrich Henrici "Picander", a regular German poet Bach librettist in Leipzig, and by various Lutheran choirs, is a "musical temple" of unanimous adoration.

In collaboration with the Seville Early Music Festival, and with the presence of the formidable Freiburg Baroque Orchestra and the Belgian vocal ensemble Vox Luminis, conducted by Lionel Meunier, one of the greatest European talents in vocal, sacred and baroque music, the Teatro de la Maestranza, after the great success of Misa en B minor performed in 2022 by Ton Koopman and his Amsterdam Baroque Orchestra, celebrates continuing its collaboration with FeMÀS by offering another of Bach's great works, perhaps the most resounding.

English

Una conmovedora piedad operística

La pasión y la muerte de Cristo narradas musicalmente como nadie lo ha vuelto a hacer nunca. Apoteosis de Johann Sebastian Bach junto a la Misa en si menor, la Pasión según San Mateo, BWV 244 nos sumerge en una experiencia profundamente espiritual, pietista, conmovedora, poética.

Y, sin embargo, tras su representación el 15 de abril -Viernes Santo- de 1729 en la Iglesia de Santo Tomás de Leipzig sin los medios que el Kantor precisaba, si bien algunos investigadores han situado el estreno dos años antes, en 1727, la obra fue rechazada porque su alternancia de recitativos y arias y su lenguaje musical innovador sonaban demasiado “operísticos” en los severos oídos del reaccionarismo de la época.

Hasta 1736, Bach introdujo correcciones en la obra. Y a partir de 1750, tras su muerte, ese monumento de la música sacra de todos los tiempos que forman sus dos partes con 68 números, desapareció, se lo tragó el olvido, como al propio Bach, hasta que en episodio célebre de la Historia de la Música, Mendelssohn, en versión abreviada, lo hizo sonar de nuevo en Berlín en 1829. Desde entonces, la San Mateo, cuyo libreto está sustentado por una mezcla del Evangelio de San Mateo en la traducción de Lutero con poemas de Christian Friedrich Henrici “Picander”, un poeta alemán habitual libretista de Bach en Leipzig, y por diversos corales luteranos, es un “templo musical” de adoración unánime.

En colaboración con el Festival de Música Antigua de Sevilla, y con la presencia de la formidable Orquesta Barroca de Friburgo y del conjunto vocal belga Vox Luminis, dirigidos por Lionel Meunier, uno de los mayores talentos europeos en música vocal, sacra y barroca, el Teatro de la Maestranza, tras el gran éxito de la Misa en sí menor interpretada en 2022 por Ton Koopman y su Amsterdam Baroque Orchestra, celebra proseguir su colaboración con el FeMÀS ofreciendo otra de las grandes obras, puede que la más rotunda, de Bach.

español

Paixão segundo São Mateus by Bach, J. S., dom 02 abr 2023, De (2023/2023), Regente Lionel Meunier, Teatro de la Maestranza, Sevilha, Espanha

Créditos do espetáculo (Elenco & Equipe )

Elenco

Conjunto

Programa, Sobre & Sinopse

Fotos

Leitura adicional

Datas e locais de apresentação

Locais de Eventos