{"id":11341,"date":"2024-12-16T14:27:49","date_gmt":"2024-12-16T13:27:49","guid":{"rendered":"https:\/\/cappellamediterranea.com\/?post_type=post-concert&p=11341"},"modified":"2025-09-01T13:38:24","modified_gmt":"2025-09-01T11:38:24","slug":"opera-antica","status":"publish","type":"post-concert","link":"https:\/\/cappellamediterranea.com\/en\/production\/opera-antica\/","title":{"rendered":"Opera Antica"},"content":{"rendered":"\n
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\u00a9Nicola Allegri<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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R\u00e9cital exceptionnel avec des \u0153uvres de Cavalli, Cesti<\/strong>, Monteverdi et Stradella<\/strong>.
<\/strong>
Que ce soit \u00e0 Paris, Londres, Moscou, Venise, Berlin, Salzbourg ou Vienne, le contre-t\u00e9nor italien Carlo Vistoli se distingue r\u00e9guli\u00e8rement sur les sc\u00e8nes des plus grandes maisons d’op\u00e9ra mondiales, s’imposant comme une r\u00e9f\u00e9rence dans le r\u00e9pertoire des XVIIe et XVIIIe si\u00e8cles. \u00c0 travers des programmes de concert savamment \u00e9labor\u00e9s, il met en lumi\u00e8re des \u0153uvres souvent m\u00e9connues, redonnant vie \u00e0 des h\u00e9ros oubli\u00e9s de l’op\u00e9ra, avec une colorature et une beaut\u00e9 tonale qui transcendent l\u2019histoire de ce genre.

Dans le concert Opera Antica<\/em>, Carlo Vistoli et la Cappella Mediterranea, sous la direction de Leonardo Garc\u00eda-Alarc\u00f3n, nous transportent au c\u0153ur de l’Italie du XVIIe si\u00e8cle, \u00e9poque o\u00f9 l\u2019op\u00e9ra, encore en formation, atteignait ses premi\u00e8res grandes r\u00e9alisations. Des compositeurs comme Monteverdi, Cesti, Cavalli et Stradella, sans v\u00e9ritable tradition \u00e0 exploiter, ont r\u00e9invent\u00e9 cette fusion novatrice de th\u00e9\u00e2tre, chant, danse et musique. Les \u0153uvres qui en ont \u00e9merg\u00e9 ont marqu\u00e9 \u00e0 jamais l\u2019histoire du th\u00e9\u00e2tre musical. Qu\u2019il s\u2019agisse du joyeux “Ombra mai fu” de Xerse<\/em> de Cavalli ou du poignant lamento de l\u2019amour “E pur io torno” de L\u2019incoronazione di Poppea<\/em> de Monteverdi, tout s\u2019y trouve \u00e0 l\u2019origine, semant les graines d\u2019\u00e9motions musicales profondes, qui nourriront les g\u00e9n\u00e9rations suivantes. Et comment ne pas \u00eatre frapp\u00e9 par la sc\u00e8ne de folie, \u00e0 la fois dramatique, poignante et pourtant comique, du Il Trespolo tutore<\/em> de Stradella, pr\u00e9figurant les futures \u00e9volutions du genre dans des \u0153uvres \u00e0 venir ?<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Programme<\/h2>\n\n\n\n

Francesco Cavalli <\/strong>(1602\u20131676)
\u00ab Ohim\u00e8, che miro \u2013 Misero Apollo \u00bb
Lamento d’Apollo, Gli amori di Apollo e Dafne<\/em><\/p>\n\n\n\n

\u00ab Ombra mai fu \u00bb
Aria de Xerse, Il Xerse<\/em><\/p>\n\n\n\n

\u00ab Uscitemi dal cor, lacrime amare \u00bb
Lamento d’Idraspe, Erismena<\/em><\/p>\n\n\n\n

\u00ab Per eccesso d\u2019affetto \u2013 Che ti diss\u2019io? \u00bb
Aria d’Iarba, La Didone<\/em><\/p>\n\n\n\n

\u00ab Erme e solinghe cime \u2013 Lucidissima face \u00bb
Aria d’Endimione, La Calisto<\/em><\/p>\n\n\n\n

Antonio Cesti <\/strong>(1623\u20131669)
\u00ab Qual profondo letargo \u2013 Care note amorose \u2013 Fissa il chiodo, o Fortuna \u00bb
Aria d’Alidoro, L\u2019Orontea<\/em><\/p>\n\n\n\n

Claudio Monteverdi <\/strong>(1567\u20131643)
\u00ab E pur io torno \u00bb
Aria d’Ottone, L\u2019incoronazione di Poppea<\/em><\/p>\n\n\n\n

\u00ab I miei subiti sdegni \u00bb
Aria d’Ottone, L\u2019incoronazione di Poppea<\/em><\/p>\n\n\n\n

Alessandro Stradella <\/strong>(1643\u20131682)
\u00ab Oh, quanti soli \u2013 Oblio, che lento e tacito \u2013 Su, dunque, fuggite \u00bb
Aria de Nino, Il Trespolo tutore<\/em><\/p>\n\n\n\n

\u00ab Tarap\u00e0, tarap\u00e0, tarap\u00e0 \u2013 Fa\u2019 la nanna, Nino mio \u2013 Venghino in questo circolo \u00bb
Sc\u00e8ne de folie de Nino, Il Trespolo tutore<\/em><\/p>\n<\/div>\n\n\n\n

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Distribution<\/h2>\n\n\n\n

Carlo Vistoli<\/strong>,\u00a0contre-t\u00e9nor<\/em>
Leonardo Garc\u00eda-Alarc\u00f3n<\/strong>,\u00a0direction et clavecin
<\/em>Cappella Mediterranea<\/strong>
<\/em>
Laura Corolla<\/strong>, violon
Alfia Bakieva<\/strong>, violon
Jonathan Ponet<\/strong>, alto
Oleguer Ayam\u00ed Busqu\u00e9<\/strong>, violoncelle
\u00c9ric Mathot<\/strong>, contrebasse
Rodrigo Calveyra<\/strong>, cornet \u00e0 bouquin
Isaure Lavergne<\/strong>, basson
Marina Bonetti<\/strong>, harpe
M\u00f3nica Pustilnik<\/strong>, archiluth
Quito Gato<\/strong>, th\u00e9orbe<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Prochaines dates<\/h2>\n\n
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