The 1th edition of the Sicut Sagittae Baroque Music Festival kicks off on Sunday, October 20.30st at XNUMX:XNUMX pm at Domus Ars, opening the concert season at Carlo Faiello's Domus Ars Cultural Center. Produced by Il Canto di Virgilio, in collaboration with the Cappella Neapolitana – Antonio Florio Association.
The festival will open its doors on Sunday 1 October at 20.30 pm and will continue with six events until 26 October with modern premieres.
The Festival will be inaugurated by the seductive voice of a great mezzo-soprano of our time, José Maria Lo Monaco, accompanied on the piano by Maurizio Iaccarino, who interprets in the manner of twentieth-century salons a refined repertoire that starts from Monteverdi's Lamento della Ninfa (1638) and arrives at Bellini's opera Adelson e Salvini, written in 1825 when the composer from Catania was still a student at the Naples Conservatory, with in between arias from cantatas and operas by Vivaldi, Gluck, Mozart, the rare cantata “Arianna a Naxos” by Haydn and an instrumental prelude from Rossini's Petite Messe Solemnelle.
This year too, the festival brings to the heart of the historic centre of Naples unusual proposals and first modern performances of highly evocative music from the past, focusing this year on the fascinating theme of the “Queen Voice”, VOXREGINA, as the subtitle of the Festival states.
Over the centuries, the voice has maintained the sacredness of its sonic message intact: the song that "enchants." In Naples between the 16th and 18th centuries, the voice was embodied in turn by lute and guitar singers, prima donnas, and above all, castrati, recruited as children from throughout the viceroyalty and trained to the utmost virtuosity in the four ancient conservatories founded in the 17th century. Artistic director Antonio Florio explains.
Six concerts of the highest artistic level and of great historical-cultural interest, which bring back to a symbolic place such as the church of San Francesco delle Monache, home of the Domus Ars, the enchanting sound of the voices of the past.
Sunday October 1 20.30
Ariadne on Naxos
Jose Maria Lo Monaco mezzosoprano
Maurizio Iaccarino piano
Claudio Monteverdi (1567 – 1643) Lament of the Nymph (from the Eighth Book of Madrigals Venice 1638)
Antonio Vivaldi (1678 – 1741) “I feel in my breast” (from Il Giustino1724)
Franz Joseph Haydn (1732 – 1809) Ariadne on Naxos. Cantata for solo voice and piano Hob. XXVIb
Wolfgang Amadeus Mozart (1756 – 1791) Fantasy in D minor for piano K397
“Ah for this moment”, aria by Sesto (from The Clemency of Titus)
Christoph W. Gluck (1714 – 1787) “Solo un pianto”, Neris’ aria (from Medea)
Gioacchino Rossini (1792 – 1868) Religious Prelude for piano (from Petite Messe Solemnelle)
Vincenzo Bellini (1801 – 1835) “After the dark cloud”, aria of Nelly (from Adelson and Salvini)
Domus Ars – Church of San Francesco delle Monache, via santa Chiara, 10
Single seat 15 euros (full) 10 (reduced)
Info: infoeventi@domusars.it | tel. 08134255603 | info@cappellaneapolitana.it
The second meeting takes us into the atmosphere of the most important house of female music in Naples, the Annunziata, with the sacred music of its most representative seventeenth-century masters: Macque, Sabino, Lambardi and Maione (with the voices of Giulia Lepore, Caterina D'Alessandro, Leopoldo Punziano and Angelo Trancone on the organ). In the third meeting, the theorbos of Franco Pavan and Paola Ventrella with the voice of Giuseppina Perna propose a long-distance dialogue between the two musical capitals, Naples and Venice, with music by early seventeenth-century authors capable of weaving a magical "labyrinth of love", with the inevitable thread of madness connected to it. The comparison between the two cities continues in the fourth meeting, with the voices of Angela Luglio and Aurelio Schiavoni, accompanied on the harpsichord by Marco Palumbo, who perform the virtuoso "chamber duets" of Durante and Lotti, among which the genius of Alessandro Scarlatti appropriately inserts itself. We continue with a tribute to two ladies who were protagonists of the great Italian court Renaissance, Lucrezia Borgia and Isabella d'Este, with a series of frottole from the early sixteenth century that also includes a taste of music for the Aragonese court of Naples, with the greatest interpreters of this repertoire: the voice and harp of Patrizia Bovi accompanied by Crawford Young on the lute and zither.
The festival concludes at the end of October with a concert dedicated to the spiritual cantatas of 17th-century Neapolitan music (mostly found in the Girolamini Archives in Naples and in collaboration with the state library of the same name), with the extraordinary voice of Valentina Varriale accompanied on the harpsichord by Angelo Trancone: mostly unpublished music by Donato Ricchezza and Gaetano Veneziano together with instrumental pieces by Alessandro Scarlatti.
Sunday 1st October 20.30pm Domus Ars
“ARIANNE IN NASSO (AND OTHER ABANDONED)”
Jose Maria Lo Monaco mezzosoprano
Maurizio Iaccarino piano
Claudio Monteverdi (1567 – 1643) Lament of the Nymph (from the Eighth Book of Madrigals Venice 1638)
Antonio Vivaldi (1678 – 1741) “I feel in my breast” (from Il Giustino1724)
Franz Joseph Haydn (1732 – 1809) Ariadne on Naxos. Sung with solo voice and pianoHob. XXVIb
Wolfgang Amadeus Mozart (1756 – 1791) Fantasy in D minor for piano K397
“Ah for this moment”, aria by Sesto (from The Clemency of Titus)
Christoph W. Gluck (1714 – 1787) “Solo un pianto”, Neris’ aria (from Medea)
Gioacchino Rossini (1792 – 1868) Religious Prelude for piano (from Petite Messe Solemnelle)
Vincenzo Bellini (1801 – 1835) “After the dark cloud”, aria of Nelly (from Adelson and Salvini)
Thursday October 5 20.30
“FOR THE HOLY HOUSE OF THE ANNUNCIATION”
Giulia Lepore soprano Cristina D'Alessandro alto Leopoldo Punziano tenor
Angelo Trancone organ
Giovanni De Macque (ca. 1550 - 1614) Organ entrance
Camillo Lambardi (ca. 1560 - 1634) Praecibus et meritos, motet for 3, soprano, contralto and tenor
Camillo Lambardi Quae est ista, motet for 3, soprano, contralto and tenor
Giovanni Maria Sabino (1588 - 1649) Ecce panisangelorum, motet for solo voice
Ascanio Maione (ca. 1570 - 1627) Toccata seconda (from First Book of various caprices, Naples 1603)
Camillo Lambardi Come, our queen, motet for 3, soprano, contralto and tenor
Camillo Lambardi Veni sponsaChristi, motet for 3, soprano, contralto and tenor
Giovanni Maria Sabino O sacrumconvivium, motet for solo voice
Giovanni De MacqueCapriccio on D F E G (organ)
Camillo Lambardi Maria virgo, motet for 3, soprano, contralto and tenor
Camillo Lambardi Te Deumpatrem, motet for 3, soprano, contralto and tenor
Giovanni Maria Sabino Cruxfidelis, motet for solo voice
Ascanio Maione Partitas on the ancient tenor or Romanesca (from Second Book of various caprices Naples 1609)
Giovanni Maria Sabino Repleaturosmeum, motet for solo voice
Camillo Lambardi Salve radix sancta, motet for 3, soprano, contralto and tenor
Camillo Lambardi Ecce tu pulchra es, motet for 3, soprano, contralto and tenor
*Lambardi's music is a modern first performance.
Sunday October 8 20.30
“LOVE LABYRINTH”
Giuseppina Perna, soprano
Franco Pavan and Paola Ventrella, theorbo
Arias, songs and madnessNaples in Venice in the 600th century
Carlo Pedata (?- post 1647) Three mighty warriors
Francesco Lombardi (Naples, 1587-1642) A hair tied me
Paul of Aragon Sicilian (?-post 1617) Touch.
It might interest you
Andrea Falconieri (Naples, 1585/6-1656) Dear is the rose
Masillo Viglino (Naples, fl.17th century) Now that the silence
Bellerofonte Castaldi (Modena, 1581?- 1649) A morsel of fantasy
Mario Savioni (Rome, 1606-8-1685) The Madwoman
Bellerophon Castaldi Foreign sonatas in theorbesque dress
Vincenzo Calestani, (Lucca, 1589- post 1617) Arde sighed
Vincenzo CalestaniBridesmaid all beautiful
Martino Pesenti (Venice, ca. 1600-ca. 1648) My son, I don't love you anymore
Francesco Monteverdi (Mantua?ca. 1660-Venice, post 1677) Oh, I feel like I'm dying
Guglielmo Miniscalchi (Venice, fl.17th century) He who believes is foolish
Martino Pesenti, If I don't turn my foot
The music by Pedata, Viglino and Lambardi is in its first modern performance.
Sunday October 22 20.30
“NAPLES AND VENICE: CHAMBER DUETS”
Angela Luglio, soprano Aurelio Schiavoni, alto
Marco Palumbo harpsichord
Francesco Durante (1684 – 1755) “Proud, bitter destiny” (duet)
Antonio Lotti (1667 – 1740) “Querela Amorosa” (duet)
Alessandro Scarlatti (1660- 1725) “Mi Tormenta il Pensier” cantata (soprano solo)
Antonio Lotti “Unbearable Distance” (duet)
Francesco Durante VI sonata and Divertimento (harpsichord solo)
Benedetto Marcello (1686 – 1733) “Qual mai,Fato Inumano” sung (alto solo)
Francesco Durante “La Vezzosa Celinda” (duet)
Tuesday October 24 20.30
“LUCREZIA BORGIA and ISABELLA D’ESTE”
The rivalry and musical patronage of two great ladies of the Renaissance, between
Rome, Ferrara, Naples and Mantua
Patrizia Bovi, voice and harp
Crawford Young, lute and zither
Marchetto Cara “My Hope is Born” aria from the chapters (from Petrucci, Frottole book ninth, Venice 1509)
Heyne Van Ghiseghem AmoursAmours (Ms. “Thibaud”Paris BNF RésVmd MS 27)
Juan del Encina “Levanta Pasqual” (Cancioneiro Musical de Palacio)
Queen note/Rostiboly instrumental
Niccolòda Padova “It is not time to hold” (Petrucci, Frottole book two, Venice 1504)
Bartolomeo Tromboncino “These are no longer tears” (text by Ludovico Ariosto, from Antico, Songs, sonnets, strambotti and frottole Book IV, Rome 1517)
The ServantHaultGueronnè (Ms. Perugia Biblioteca Comunale Augusta)
Bartolomeo Trombonicino “After my star turned”frottola (Petrucci, Frottole book three, Venice 1505)
Michele Pesenti “Inhospitas per alpes”ode (Petrucci, Frottole Book One, Venice 1501)
“With the angelic voice the sweet song” sonnet “In praise of a musician” (text by B. Bellincioni on “aria for sonnets”, Petrucci, Frottole book three, Venice 1504)
[Isabella in Naples – The meeting with Prefato Burgensis]
Spain improvisation on the “tenor of Spain”
Marchetto Cara “I sang while in my heart” “Since I see alas sad/Take it in my hand”
“I saw picking roses or lilies” (Petrucci Frottole book Septimo Venice 1507)
Tandernakendance (Ms. Trento 87)
“Do well to this wretch”
“Zappay lo campo” strambotto (Ms.Montecassino 871)
“After Heaven and Fortune” (from Petrucci, Frottole, seventh book, Venice 1507)
Tientalora (Ms. Parigi, BNF, Rès.VM7 676)
Josquin des Prez Scaramella (Ms. Firenze Riccardiana 229)
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