Philippe Jaroussky recital: Forgotten Arias

PROGRAMME

Johann Adolf Hasse (1699-1783)
Demofoonte :
- Sinfonia – allegro, andantino, presto
- Récitatif : « Ma che vi fece o stelle »
- Acte I, scène 4 : « Sperai vicino il lido » (Timante)
- Acte III, scène 3 : « Misero pargoletto » (Timante)

Fuga et Adagio en sol mineur
Fuga a la breve

Leonardo Leo (1694-1744)
Catone in Utica : Sinfonia – allegro, allegro

Michelangelo Valentini (1720-1768)
La Clemenza di Tito, acte II, scène 15 : « Se mai senti spirarti sul volto » (Sesto)

Tommaso Traetta (1727-1779)
L’Olimpiade :
- Acte II, scène 12 : « Dove son ? Che m’avenne ? »
- Air : « Gemo in un punto e fremo » (Licida)

Intermission

Andrea Bernasconi (1706-1784)
L’Olimpiade, acte II, scène 5 : « Siam navi all’onde algenti » (Aminta)

Giovanni Battista Ferrandini (1710-1791)
24 Arias, vol. 2 : « Gelido in ogni vena » n°11

Niccolo Jommelli (1714-1774)
Sinfonia periodica en mi bémol majeur – allegro di molto, ciaccona

Johann Christian Bach (1735-1782)
Artaserse, acte II, scène 6 : « Per quel paterno amplesso » (Arbace)

Niccolo Jommelli
Artaserse, acte I, scène 2 : « Fra cento affanni » (Arbace)

First part: 40 mins
Intermission
Second part: 40 mins

When it comes to opera seria from the 18th century, the genius of Handel or Vivaldi relegates other composers to the background, their work barely emerging from behind their colossal shadow. In the case of Johann Adolf Hasse, this oversight is quite simply scandalous, as the German musician mastered the language of Italian opera with just as much virtuosity as Handel. Acclaimed throughout his life, he married Faustina Bordoni, one of the greatest singers of the time and was himself a singer, unveiling a superb vocal composition, at once virtuosic and sensitive, earning him the faithful friendship of Farinelli. But other composers also deserve such attention, such as the Venetian Giovanni Battista Ferrandini, employed by the Court of Bavaria, who left behind several high quality operas. Leopold Mozart was sufficiently impressed by Hasse and Ferrandini as to present his young son, Wolfgang Amadeus, to them for their advice.

Philippe Jaroussky has never tired of demonstrating his love for these great composers, who led the transition between baroque and classicism, championing them with his unique vocal talent and intelligence. This time, he has brought some old friends along for the adventure, Julien Chauvin and Le Concert de la Loge, who share his passion for this period of exciting innovation.