Name: VFCO Goebel Fröst Richter Sá
Start: 2022-07-24T00:00:00.000Z
End: 2022-07-24T00:00:00.000Z
Location: Salle des Combins

Organization

Verbier Festival

Dyrygent

Reinhard Goebel

Śpiewak

Mezzosopran

Anna Richter

Sopran

Bruno de Sá

Instrumentalista

Martin Fröst

Orchestra

Verbier Festival Chamber Orchestra

VFCO / Goebel / Fröst / Richter / Sá

Bagnes

Szwajcaria

Salle des Combins

One of the world’s most respected 18th-century music specialists, Reinhard Goebel presents an entirely original program alongside three fantastic soloists: clarinet virtuoso Martin Fröst, mezzo-soprano Anna Lucia Richter, and sopranist Bruno de Sá!

The program begins with a “hypothetical concerto” for clarinet, crafted from exquisite arrangements of opera arias by Vivaldi and transcribed for the instrument by Andreas Tarkmann (Hanover, 1956). Next up is Haydn’s charming symphony—known as “The Clock”, as its second movement evokes the ticking of the clock—an archetypal masterpiece of the Classical symphony, written in 1793 in London. The program closes with Bach's arrangement of Pergolesi’s Stabat Mater, a work that has fascinated both audiences and musicians alike from the moment of its creation. For reasons that are still unknown to us today, the great German composer transcribed the work and embellished it with his masterful counterpoint.

The extraordinary voices of Anna Lucia Richter and Bruno de Sá—the latter defying the limits of the human voice by reaching soprano notes with a formidable falsetto technique—light up the last part of this varied program, which brings us on a musical journey from Naples to Leipzig, Vienna, London, and Venice…

Credits

Photo: Reinhard Goebel © Wolf Silveri

Bruno de Sá appears courtesy of Warner Classics.

VFCO / Goebel / Fröst / Richter / Sá: Concert Various

Public

Koncert

Approved

Accordionist

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 Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Aktor

Broadcasting

Chefdirigent Musiktheater

Choreografia

Chorus Director

Chór

Dramaturgia

Extra

Fryzjer

Illustrator

Kompozytor / -ka

Korepetytor /- ka

Kostiumy

Libretto

Makijaż

Orchestra Operations

Orkiestra

Other

Photographer

Poet

Produkcja wykonawcza

Przygotowanie chóru

Realizacja dźwięku

Reżyseria

Reżyseria światła

Scenografia

Stage Manager

Taniec

Teacher

Tłumaczenie

Vocal coach

Wideo

Wig & Makeup Designer

Writer

Writing and performance

Kontralt

Tenor

Baryton

Bas - baryton

Kontratenor

Alto

Continuo

Głos dziecięcy

Silent

Spoken

An evening of exquisite music from the baroque and classical periods featuring the Verbier Festival Chamber Orchestra, clarinetist Martin Fröst, Jakub Józef Orliński as mezzo-soprano, and soprano Bruno de Sá under the baton of conductor Reinhard Goebel.

When the clarinet was still in its infancy in Vivaldi’s day, he never wrote a solo concerto for it. The four-movement ‘Il Mezzetino’ is thus a ‘hypothetical’ creation by Andreas Tarkmann. Mezzetin was an astute, cynical servant character of the commedia dell’arte, and you hear him in the third movement with its flits between minor and major, as the clarinet glides over tiptoeing plucked strings. Pizzicato lower strings equally feature in the Andante second movement of Haydn’s 1793 ‘Clock’ Symphony, creating the ticking effect that inspired its own nickname; the ensuing Menuet’s grand theme meanwhile was adapted from one he’d penned for mechanical organ. Bach’s late-life transcriptions of works by his contemporaries, Vivaldi included, arose from both admiration and a desire to keep up with the latest styles. His flowing arrangement of Pergolesi’s Stabat Mater enriched its orchestration and switched its Marian Passion text to forgiveness-beseeching Psalm 51.

English

En kväll med utsökt musik från barock och klassisk period med Verbier Festival Chamber Orchestra, klarinettisten Martin Fröst, Jakub Józef Orliński som mezzosopran och sopranen Bruno de Sá under ledning av dirigenten Reinhard Goebel.


När klarinetten fortfarande var i sin linda på Vivaldis tid skrev han aldrig en solokonsert för den. Fyrsatsen ’Il Mezzetino’ är alltså en ’hypotetisk’ skapelse av Andreas Tarkmann. Mezzetin var en skarpsinnig, cynisk tjänarkaraktär av commedia dell’arte, och man hör honom i tredje satsen med dess flits mellan moll och dur, när klarinetten glider över tånande plockade strängar. Pizzicato lägre strängar finns också med i Andantes andra sats av Haydns 1793 'Clock' Symphony, vilket skapar den tickande effekten som inspirerade dess eget smeknamn; det efterföljande Menuets storslagna tema var under tiden anpassat efter ett han skrivit för mekanisk orgel. Bachs sena transkriptioner av verk av hans samtida, inklusive Vivaldi, uppstod från både beundran och en önskan att hänga med i de senaste stilarna. Hans flödande arrangemang av Pergolesis Stabat Mater berikade dess orkestrering och ändrade dess Marian Passion-text till psalm 51 som ber om förlåtelse.

svenska

VFCO / Goebel / Fröst / Richter / Sá by Various, od (2022/2022), Dyrygent Reinhard Goebel, Salle des Combins, Bagnes, Szwajcaria

Udział w spektaklu (Obsada & realizacja )

Obsada

Oprzyrządowanie

Ensemble

Program, informacje i streszczenie

Zdjęcia

Dalsza lektura

Daty i miejsca występów

Miejsca