Découvrez ou redécouvrez cet oratorio de Haendel où David DQ Lee, contre-ténor, avait laissé une impression mémorable de part sa présence scénique et sa vocalité superbes en incarnant David.

"La véritable vedette de la soirée reste bien sûr William Christie, à la tête de ses Arts Florissants. Le chœur est absolument admirable, attentif à chaque affect, ne ratant pas la moindre inflexion, ni la plus pettie intention de la partition. L'orchestre, d'une perfection éblouissante, n'est pas en reste. Le bonheur, c'est simple comme Christie."
Catherine Scholler, Magazine Opéra, novembre 2009

Susanna, oratorio HWV 66 de Georg Friedrich Haendel (1685-1759)
en trois parties, sur un livret attribué à Newburgh Hamilton.

› Susanna : Sophie Karthäuser – soprano

› Joacim : Max Emanuel Cencic – contre-ténor

› Daniel : David DQ Lee – contre-ténor

› First Elder : William Burden – ténor

› Second Elder : Alan Ewing – basse

› Chelsias : Maarten Koningsberger – basse

› An Attendant : Emmanuelle de Negri – soprano

› A Judge : Ludovic Provost – baryton

Plus d'informations sur Mezzo ici !

It is hard to think of the 'cantata' without thinking of Johann Sebastian Bach, but few people know that Bach himself never named as 'cantatas' the works we now know by that name; the term he used was 'motetto' or 'concerto'. He instead named as cantatas the works composed for a vocal soloist accompanied by bass continuo or orchestra, for example Ich habe genug BWV 82 or the cantatas written in Italian such as Non sa che sia dolore or Amore traditore.

Leonardo García Alarcón intends to restore the indissoluble link between the two German masters, Bach and Handel, and their Italian models and predecessors Alessandro Scarlatti, Nicola Porpora, Alessandro Stradella, Luigi Rossi and Antonio Vivaldi. Naples, Rome and Venice, the musical centres of baroque Europe, exerted a huge influence on the works of the two masters.

Today we still have difficulty in imagining the great composer playing or writing Italian cantatas, but an analysis of documents of the time confirm that he tackled the genre, as all others, with the greatest technical skill as well as an extraordinary assimilation of a style which he knew inside out despite never having made the 'pilgrimage' to Italy undertaken by all his contemporaries.

Areas of studies :

• The evolution of the cantata, from its birth in Italy to Bach and Handel works
• Work on the ornementation
• Text analysis, work on the italian language
• Instrumental practice in connection with the voice

Trainees will have the opportunity to be recorded in professional conditions : they could listen and thus improve their practice and interpretation. es stagiaires auront par ailleurs la possibilité de travailler.

Repertoire

Solo cantatas accompanied by bass continuo or orchestra by: Alessandro Scarlatti, Nicola Porpora, Alessandro Stradella, Luigi Rossi, Antonio Vivaldi and Georg Friedrich Handel.
Johann Sebastian Bach: Solo cantatas (secular and sacred), accompanied by bass continuo or orchestra.

Tutors

Harpsichord, organ and conductor: Leonardo García Alarcón
Voice: Céline Scheen and Fabián Schofrin
Bass continuo: Andrea De Carlo

Participants

Sopranos, mezzo-sopranos, counter-tenors, tenors, basses, traverso, oboes, bassoons, violins, violas, cellos, harpsichords, lutes.

Teaching fee

325 euros (teaching fee and lunches)
285 euros for participants of the European Baroque Academy (2007, 2008, 2009 et 2010)

Accommodation can be provided in Ambronay (bedrooms of 4-6 beds): 175 euros (night, evening meals and breakfast). Fore more details.

Participant arrival: Sunday, 18th (evening) or Monday, 19th (before 10 am)
Participant departure: Sunday, 25th (evening) or Monday, 26th (before noon).