#simone kermes

[aschenblumen]

Henry Purcell, Dido and Eneas (Dido’s lament). Teodor Currentzis, director Simone Kermes, soprano

[esuemmanuel]

Purcell “Dido´s lament”.

Simone Kermes, soprano.

Direction Teodor Currentzis

“Thy hand, Belinda, darkness shades me. On thy bosom let me rest, more I would, but Death invades me; Death is now a welcome guest. When I am laid in earth, May my wrongs create no trouble in thy breast; remember me, but ah! forget my fate.”

“Tu mano, Belinda; me envuelven las sombras. Déjame descansar en tu pecho. Cuánto más no quisiera, pero me invade la muerte; la muerte es ahora una visita bien recibida. Cuando yazga en tierra, mis equivocaciones no deberán crearle problemas a tu pecho; recuérdame, pero, ¡ay!, olvida mi destino.”

[ruiard]

Niccolò Porpora - Aria di Aci, Alto Giove, from the act III, sc. 5

`Alto Giove, è tua grazia, è tuo vanto il gran dono di vita immortale che il tuo cenno sovrano mi fa.`

[ojo-rojo]

Seeing with one eye, listening with three ears, from the opera Polifemo, by Nicola Porpora. 

Simone Kermes - Alto Giove (Porpora)

[fuckyeahfarinelli]

Farinelli’s composers: L E O N A R D O   V I N C I  (1690 or 1696 -1730)

Leonardo Vinci was an Italian composer, best known for his operas. His music exerted a direct influence on many composers of the next generation, notably Pergolesi and Hasse, and also made an impact on older composers such as Vivaldi and Handel, whose later works incorporate elements of the style of Vinci and his colleagues. He was the first composer of international repute to cultivate the periodic treatment of melody.

Vinci entered the Conservatorio dei Poveri di Gesu Cristo in Naples in 1708 as a convittore, paying 36 ducats a year, but after three years this fee was waived; apparently he was by then earning his keep as a mastricello or student teacher. After ten years of study he left and for a short time served as maestro di cappella to Prince Sansevero. Vinci made his operatic début in 1719 at the Teatro dei Fiorentini in Naples with the commedia per musica Lo cecato fauzo, enthusiastically reviewed in the Avvisi di Napoli. Vinci’s first operas were of the commedia per musica type, full-length comic operas with texts primarily in Neapolitan dialect. His Li zite’ngalera, from carnival 1722, is the earliest surviving score of a Neapolitan commedia. Vinci produced his first serious opera, Publio Cornelio Scipione, at the Teatro San Bartolomeo in Naples in November 1722; it was so successful that he turned primarily to the dramma per musica. In 1724 Vinci secured his first commission outside Naples, setting Lucchini’s Farnace for the Teatro delle Dame in Rome. Roman theatres were closed for the Holy Year in 1725, but Vinci wrote two new operas for the Teatro San Giovanni Grisostomo in Venice that year; their success probably led to a commission for a new opera at Parma in the spring involving the same composer and principals. Vinci’s activity reached a peak during winter 1725-26 when three new operas were produced: Astianatte in Naples in December, Didone abbandonata in Rome in January and Siroe re di Persia in Venice in February. The last two were the first of a series of successful collaborations between Vinci and Metastasio. Vinci’s success seems to have been challenged by his older colleague Porpora. Productions of operas by the two men in Venice and Rome fuelled a rivalry which, according to Burney, dated back to their youth. During the 1729-30 season Vinci was one of the impresarios at the Teatro delle Dame, as well as its principal composer. In the latter capacity he collaborated with Metastasio on three major works: the serenata La contesa de numi, and the operas Alessandro nell’Indie and Artaserse at the Teatro delle Dame. During the same season Porpora presented two operas at the Teatro Capranica in Rome; according to Marpurg, Vinci, fearful of Porpora’s challenge, resorted to sabotage in an attempt to crush his rival. Vinci’s machinations were hardly necessary, as both his operas became celebrated examples of the dramma per musica.

According to De Brosses, the Italians “did not want to see again any piece that they have already seen another year, unless it is some excellent opera by Vinci”. Vinci did not live to enjoy his success. He died in Naples amid rumours that he had been poisoned because of an illicit love affair.

Vo solcando un mar crudele  (Artaserse)

Cervo in bosco  (Medo)

Taci, o di morte  (Medo)

La rondinella che a noi sen riede  (Partenope)

Confusa, smarrita  (Catone in Utica) 

[onenakedfarmer]

Currently Playing

George Frideric Handel RODELINDA, HWV 19

Simone Kermes, Marijana Mijanovic, Steve Davislim, Marie-Nicole Lemieux

Alan Curtis Il Complesso Barocco

[sictransitgloriamvndi]

[kulturell]

Simone Kermes: "Kultur wird verschleudert"

Die Sopranistin Simone Kermes sieht das inflationäre Online-Angebot kostenloser Kultur kritisch. Mit Blick auf die Zeit danach fragt sie: Was bewirkt das alles?