The Early Music Show "Metastasio's Olimpiade" 14th July 2024.
It'll be interesting to see how this Metastasio progamme compares with Catherine Bott's 2011 EMS on "Mozart and Metastasio" or Lucie Skeaping's 2015 EMS on "Metastasio's Artaserse".
Metastasio's Olimpiade - The Early Music Show
As excitement builds for the upcoming Olympic and Paralympics Games, Mark Seow explores sport in Baroque opera. L'Olimpiade is a dramma per musica by Metastasio, which was first set to music by Antonio Caldara in 1733. The plot is set at the competitions in ancient Greece, and the opera has virtuosic vocal acrobatics to match. Caldara’s premiere brought an onslaught of competition: Metastasio’s text was then set by many others composers throughout the 18th century – including Vivaldi, Pergolesi, Sarti and Galuppi. Join us for the operatic Olympics
As excitement builds for the upcoming Olympic and Paralympics Games, Mark Seow explores sport in Baroque opera. L'Olimpiade is a dramma per musica by Metastasio, which was first set to music by Antonio Caldara in 1733. The plot is set at the competitions in ancient Greece, and the opera has virtuosic vocal acrobatics to match. Caldara’s premiere brought an onslaught of competition: Metastasio’s text was then set by many others composers throughout the 18th century – including Vivaldi, Pergolesi, Sarti and Galuppi. Join us for the operatic Olympics
It'll be interesting to see how this Metastasio progamme compares with Catherine Bott's 2011 EMS on "Mozart and Metastasio" or Lucie Skeaping's 2015 EMS on "Metastasio's Artaserse".
Mozart and Metastasio
As part of the "Genius of Mozart" season, Catherine Bott presents a programme focusing on the Italian poet, librettist and moralist Pietro Trapassi, aka Metastasio, through Mozart's four settings of his texts. Two of these texts, 'Il sogno di Scipione' and 'Lucio Silla' (written by Giovanni de Gamerra and adapted by Metastasio), were written in 1771 when Mozart was still only 16, in between trips to Italy. Metastasio wrote his text 'Il re Pastore' in 1751, and it had been set 14 times before Mozart chose it. The fourth of Mozart's settings turned out to be one of his final works, 'La Clemenza di Tito', written in the summer of 1791; twelve weeks after the first performance Mozart was dead. Catherine Bott reflects on the settings of these texts and plays music from each of the four works.
As part of the "Genius of Mozart" season, Catherine Bott presents a programme focusing on the Italian poet, librettist and moralist Pietro Trapassi, aka Metastasio, through Mozart's four settings of his texts. Two of these texts, 'Il sogno di Scipione' and 'Lucio Silla' (written by Giovanni de Gamerra and adapted by Metastasio), were written in 1771 when Mozart was still only 16, in between trips to Italy. Metastasio wrote his text 'Il re Pastore' in 1751, and it had been set 14 times before Mozart chose it. The fourth of Mozart's settings turned out to be one of his final works, 'La Clemenza di Tito', written in the summer of 1791; twelve weeks after the first performance Mozart was dead. Catherine Bott reflects on the settings of these texts and plays music from each of the four works.
Metastasio's Artaserse
Lucie Skeaping explores Artaserse, one of the most popular opera libretti by Metastasio, the great 18th century dramatist, featuring Artaxerxes I, King of Persia.
The libretto was originally written for and first set to music by Leonardo Vinci in 1730 for Rome, and it was subsequently set by dozens of later composers. In England, Thomas Arne's 1762 Artaxerxes is set to an English libretto that is based on Metastasio's. Lucie Skeaping introduces extracts from a few of the 90 known settings of Metastasio's text.
Lucie Skeaping explores Artaserse, one of the most popular opera libretti by Metastasio, the great 18th century dramatist, featuring Artaxerxes I, King of Persia.
The libretto was originally written for and first set to music by Leonardo Vinci in 1730 for Rome, and it was subsequently set by dozens of later composers. In England, Thomas Arne's 1762 Artaxerxes is set to an English libretto that is based on Metastasio's. Lucie Skeaping introduces extracts from a few of the 90 known settings of Metastasio's text.
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It's the 4p that does it... Embarrassed to admit that I don't know the Vivaldi.
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