Podcasts about tamerlano

Seinen Gegner „Bajazet“ hat der Tartarenfürst „Tamerlano“ erfolgreich bezwungen. Trotzdem will bei dem siegreichen Eroberer keine Siegesstimmung aufkommen: Der Gefangene verweigert sich der Opferrolle ebenso wie seine Tochter und auch die fürstliche Gefolgschaft lässt sich von Machtgier und Größenwahn nicht länger vereinnahmen. Am Deutschen Theater inszeniert Rosetta Ciucchi das musikalische Drama von Georg Friedrich Händel, das wir Ihnen heute in unserer Reihe „Im ...

Mit dem Oratorium „Solomon“ und einem prachtvollen musikalischen Fest werden morgen Abend die Internationalen Händel-Festspiele Göttingen eröffnet. Zu den Festivalhighlights gehört traditionell auch die Opernaufführung, die sich in dieser Saison den politischen und emotionalen Verwicklungen um den Tatarenfürsten „Tamerlano“ widmet. Unter dem Festspielmotto „Lorbeeren“ feiert das Festspielorchester mit Nicholas McGegan am Pult seinen früheren künstlerischen Leiter mit ...

So hochdramatisch wie Händels Oper „Tamerlano“ entwickelt sich auch die szenische Fassung „Drama! Tamerlano the Great“. Mit der möchte der Schauspieler Götz Lautenbach in der Inszenierung von JT-Intendant Nico Dietrich das Publikum am Dienstagabend im Forum Wissen erstmals auf die Festspielaufführung eistimmen. Es wird nicht nur mit den dramatischen Verwicklungen und den Liebesintrigen um „Tamerlano“ und seinen besiegten Widersacher „Bajazet“ vertraut gemacht, sondern ...

Il Podcast di Kel 12. Episodio 22. La loro identità? Gli uzbeki l'hanno trovata in quel gigante che campeggia in tante piazze, in quell'uomo con lo sguardo guerriero a capo di un impero che andava dal Mar Nero fino a Delhi. Il suo nome è Tamerlano, Timur-e Lang. Di Paolo Brovelli.

Hannah French is in Cambridge exploring links between Handel and the city...which he never visited! She's joined by The Fitzwilliam Museum's Dr Suzanne Reynolds, Handel aficionado Dr Ruth Smith and Emeritus Professor Iain Fenlon to look at a number of treasured items of Handel memorabilia. She'll also be chatting to Cambridge Handel Opera Company's Julian Perkins ahead of their forthcoming production of Tamerlano.

La storia di Bukhara, città di antichissima e mirabile fattura, stella dell'antica “Via della Seta” assieme a SamarcandaTrovate tutti i link qui: https://linktr.ee/mediorientedintorni, ma, andando un po' nel dettaglio: -tutti gli aggiornamenti sulla pagina instagram @medioorienteedintorni -per articoli visitate il sito https://mediorientedintorni.com/ trovate anche la "versione articolo" di questo video. - podcast su tutte le principali piattaforme in Italia e del mondo-Vuoi tutte le uscite in tempo reale? Iscriviti al gruppo Telegram: https://t.me/mediorientedintorniOgni like, condivisione o supporto è ben accetto e mi aiuta a dedicarmi sempre di più alla mia passione: raccontare il Medio Oriente

Charles Baudelaire, Paul Verlaine, Arthur Rimbaud e Stéphane Mallarmé sono alcuni di quei letterati considerati poeti maledetti: all’elenco manca un altro grande esponente della letteratura internazionale, Edgar Allan Poe, un vero genio incompreso quando era in vita ma rivalutato solo alla sua morte. Le frasi su Edgar Allan Poe ci parlano di questo straordinario artista. La vita di Edgar Allan Poe, alla stregua delle sue opere, colpisce per la tragicità, la sofferenza e i dolori che hanno colpito Poe sino agli ultimi istanti, ancora oggi misteriosi, della sua breve vita. La triste vita di Edgar Allan Poe Edgar Allan Poe nasce a Boston nel gennaio del 1809 ma ad appena due anni i suoi genitori, due teatranti, muoiono, lasciando il piccolo Edgar alle cure di un tutore, lo zio John Allan. Il piccolo Edgar viaggia con lui in Inghilterra, frequentando una scuola le cui lezioni si svolgevano spesso all’interno di un cimitero: questa esperienza si rifletterà in seguito sulla sua produzione letteraria. Tornato negli Stati Uniti d’America, comincia a frequentare l’Università ma la lascia ben presto per entrare nell’esercito, con lo scopo di guadagnare qualcosa dopo aver sperperato nel gioco i soldi che gli inviava suo zio. Da amante della scrittura, Edgar lascia la carriera militare per fare della sua passione il suo lavoro: a quell’epoca però, nel XIX secolo, era difficile sopravvivere con la scrittura non essendoci ancora una legge sul Diritto d’Autore. Le sue opere più importanti I racconti di Edgar Allan Poe si rivelano particolari e appassionanti, seppure non gli fecero guadagnare molti soldi: in questo periodo scrive, oltre al “Tamerlano”, anche “Manoscritto trovato in una bottiglia”, “Le avventure di Gordon Pym”, “La caduta della casa degli Usher” e “I delitti della Rue Morgue” che ispirerà A.C.Doyle nella scrittura del famoso personaggio di Sherlock Holmes. Ad essi seguono quei racconti del terrore che hanno ispirato anche Stephen King, da “La maschera della morte rossa”, “Il gatto nero”, “Il pozzo e il pendolo” e soprattutto la poesia “Il corvo” scritta nel 1845. Edgar Allan Poe manifesta uno spirito instabile, fragile e tormentato e la morte per tubercolosi della moglie Virginia, sposata quando la giovane aveva appena 14 anni, peggiora la situazione. Edgar Allan Poe viene trovato in fin di vita a Baltimora sul marciapiede, sofferente, in stato confusionale e in condizioni di povertà. Non si conoscono i motivi reali della sua morte, sul perché si trovasse a Baltimora e indossasse laceri vesti non sue. Poe morì completamente solo e al suo funerale non parteciparono nemmeno dieci persone: ma purtroppo fu proprio la sua triste esistenza a portarlo a scrivere opere straordinarie che ancora oggi lasciano un segno a chiunque le legga.

In questa puntata:- Focus: campi di calcio e campi di cotone in Uzbekistan- FotoCamara: Kemoko Camara- Varie ed eventuali

In questa puntata:- Focus: campi di calcio e campi di cotone in Uzbekistan- FotoCamara: Kemoko Camara- Varie ed eventuali

Al momento del suo massimo splendore, Saray fu la capitale dell’Orda d’oro, territorio che occupava gran parte della Russia europea, eppure dal 1501 non se ne ha più tracciaSeguite tutti gli aggiornamenti sulla pagina instagram @medioorienteedintorni , per articoli e podcast visitate il nostro sito https://mediorientedintorni.com/ trovate anche la "versione articolo". Vuoi avere tutto in unico posto? Iscriviti al gruppo Telegram: https://t.me/mediorientedintorni Ogni like, condivisione o supporto è ben accetto e ci aiuta a dedicarci sempre di più alla nostra passione: raccontare il Medio Oriente

La storia del Tagikistan vede unirsi culture estremamente varie e diversificate come quella greca, persiana e turca, plasmando così un paese da sempre al centro del mondoSeguite tutti gli aggiornamenti sulla pagina instagram @medioorienteedintorni , per articoli e podcast visitate il nostro sito https://mediorientedintorni.com/ trovate anche la "versione articolo". Vuoi avere tutto in unico posto? Iscriviti al gruppo Telegram: https://t.me/mediorientedintorni Ogni like, condivisione o supporto è ben accetto e ci aiuta a dedicarci sempre di più alla nostra passione: raccontare il Medio Oriente

Roger Parker chooses his favourite version of Handel's Tamerlano.

Milas e Bodrum, due delle città più conosciute e belle della Caria, regione dell’Anatolia che non ha mai smesso di splendere. Non a caso Bodrum è l’antica Alicarnasso, sede del leggendario Mausoleo, una delle 7 meraviglie del mondo anticoSeguite tutti gli aggiornamenti sulla pagina instagram @medioorienteedintorni , per articoli e podcast visitate il nostro sito https://mediorientedintorni.com/ trovate anche la "versione articolo". Vuoi avere tutto in unico posto? Iscriviti al gruppo Telegram: https://t.me/mediorientedintorni Ogni like, condivisione o supporto è ben accetto e ci aiuta a dedicarci sempre di più alla nostra passione: raccontare il Medio Oriente

Chi sono i tiranni? La definizione precisa li descrive come persone bramose di potere, convinte delle proprie idee e disposte ad ogni tipo di prepotenza e di crudeltà pur di raggiungere i loro scopi. Le frasi sui tiranni analizzano la figura del tiranno, dell’uomo che vuole sopraffare gli altri per arrivare al potere. La figura del tiranno è stata presente fin dall’inizio della storia dell’umanità, quando tiranni di ogni origine si sono contraddistinti con torture e atrocità di ogni genere nei confronti di persone considerate nemiche o anche solo, semplicemente, indegne di esistere. Grandi tiranni nel corso della storia sono stati Caligola, Attila, Stalin e Hitler, tanto per citarne qualcuno, ma sono i tiranni dei giorni nostri quelli che ci angustiano e ci complicano la vita. Nel quotidiano, il tiranno è il prevaricatore che pensa che tutto gli sia dovuto e che il suo pensiero racchiuda la verità assoluta. Purtroppo, non sempre i tiranni mostrano palesemente questa loro caratteristica e spesso lavorano con tatto e astuzia, per conquistare il potere che tanto desiderano. Ad esempio, Tamerlano fu definito uomo mite e protettore di artisti e poeti, salvo poi avere una predilezione per la decapitazione di inermi cittadini. Non ci sono soltanto tiranni che terrorizzano i popoli, ma anche esseri abietti che usano il loro potere per sottomettere i più indifesi, familiari colpevoli soltanto di essere capitati sotto il suo tetto. In certi contesti, la tirannia è tra le mura di casa. Il “padre padrone” è un despota nel suo ambiente, nel silenzio di situazioni che si immaginano colme di rispetto e amore. Egli annienta, giorno dopo giorno, la volontà e i desideri, se non anche i bisogni, dei propri familiari. Questa è una triste realtà non difficile da trovare, soprattutto in alcune culture. Inutile dire che ogni forma di tirannia va combattuta e che ad essa vanno contrapposti il rispetto e la tolleranza. Va combattuta anche, in misura ancora maggiore, da parte di chi subisce i soprusi. Bisogna trovare il coraggio di ribellarsi, chiedere aiuto, riprendere in mano la propria vita e la propria libertà, per sé stessi e per tutti quelli che da un esempio di ribellione possono trovare la forza di agire a loro volta. Chi assiste ad episodi di prevaricazione e soprusi è chiamato a non voltarsi dall’altra parte, facendo finta di nulla. Mettendo da parte distrazione ed egoismo, potremmo scoprire di essere utili: i tiranni sicuramente non meritano comprensione.

In this episode, I speak with health professional and NPC figure competitor, Christina Tamerlano about her insights and personal journey of going from 192 lbs to being stage ready for figure competitions. We talk about the commitment it takes to prepare for stage readiness, the difference between weight loss and fat loss and where a lot of people get frustrated when the scale doesn't budge, and some fun stories we've encountered in the gym with trainers. Follow Christina on IG @thatsswhatshesaid Here are the references to the fish oil articles I mentioned:  Noreen, E., Sass, M., Crowe, M., Pabon, V., Brandauer, J., & Averill, L. (2010). Effects of supplemental fish oil on resting metabolic rate, body composition, and salivary cortisol in healthy adults. Journal of the International Society of Sports Nutrition, 7(31), 1 - 7. Nunzio, M., Danesi, F., & Bordoni, A. (2009). n-3 PUFA as regulators of cardiac gene transcription: A new link between PPAR activation and fatty acid composition. Lipids, 44, 1073 - 1079.    

On today's episode of Opera for Everyone, we review Handel's opera Tamerlano. The story takes place in 1402 in Prusa. The defeated Ottoman Emperor Bajazet is brought in chains to the court of Tamerlano. He has ordered Andronico to remove the chains, but Bajazet is mistrustful of this action. Bajazet adds that the only reason he does not commit suicide is his love for his daughter, Asteria. Tamerlano arrives and orders Andronico to try to getn Bajazet and Asteria’s consent for Asteria to marry him, with a reward for Andronico of the Greek throne, marriage with Irene, and freedom for Bajazet. Andronico is troubled, as he brought his love Asteria to try and soften Tamerlano, only to see him fall in love with her. Tamerlano tells Asteria his intentions and the offer to Andronico, which makes her angry at Andronico’s seeming betrayal. Tamerlano is an opera in three acts written by George Frideric Handel with an Italian libretto by Nicola Francesco Haym. The story is based on the story of Tamerlano by Agostin Piovene, as well as another libretto entitled Bajazet after Nicolas Pradon's Tamerlan. Tamerlano is considered one of Handel's major works, and it was composed in only 20 days 1724 - the same year he wrote Giulio Cesare and Rodelinda. Hosted by Pat Wright with special guest Grant Wright.

Will you vote for Handel’s Tamerlano, Wagner’s Die Meistersinger von Nürnberg or Vivaldi’s L’incoronazione di Dario in this year’s Opera category? See acast.com/privacy for privacy and opt-out information.

Xavier Sabata (Countertenor) | Max Emanuel Cencic, (Countertenor) | John Mark Ainsley (Tenor) | Karina Gauvin (Sopran) | Il pomo d'oro | Leitung: Riccardo Minasi

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia

Soprano Sarah Coburn opens the 2011 Washington National Opera season in the title role of Donizetti's Lucia di Lammermoor.  Ms. Coburn drops in on Patrick D. McCoy-The African-American Voice in Classical Music on THE OPERA DIVA SERIES.  Past guests have included:  Christine Brewer, Carmen Balthrop, Nicole Cabell and Angela Brown. Sarah Coburn’s engagements in the 2010-11 season include Gilda in Rigoletto with Los Angeles Opera and L’Opéra de Montréal, Amina in La Sonnambula with the Wiener Staatsoper, Rosina in Il barbiere di Siviglia with Seattle Opera, Handel’s L’Allegro with the Mark Morris Dance Group and the Los Angeles Opera Orchestra, a recital at the National Museum of Women in the Arts in Washington, D.C., and a return to Cincinnati Opera in the summer of 2011 as Gilda in Rigoletto.  Engagements in the 2009-10 season included Asteria in Tamerlano and Rosina in Il barbiere di Siviglia, both with Los Angeles Opera; also Rosina in Il barbiere di Siviglia for Florida Grand Opera; the title role in Lucia di Lammermoor with Tulsa Opera; Gilda in Rigoletto with Welsh National Opera; performing in recital for Oklahoma State University's Allied Arts series, and singing as featured artist in an evening of bel canto arias with both the Oklahoma City Philharmonic and the Bartlesville Symphony Orchestra.