Sergei Redkin

Sergei Redkin
Sergei Redkin (b. 1991), pianist – Third Prize (XV International Tchaikovsky Competition, 2015)

Thursday, July 03, 2014

George Frideric Handel: Theodora – Dawn Upshaw, David Daniels, Frode Olsen, Richard Croft, Lorraine Hunt Lieberson, Michael Hart-Davis – William Christie, Peter Sellars (HD 1080p)














Dedicated to the memory of
Lorraine Hunt Lieberson (01/03/1954 - 03/07/2006)

10η επέτειος από το θάνατό της – 10th anniversary of her death

Η ιστορία της «Θεοδώρας» εκτυλίσσεται στην Αντιόχεια του 4ου αιώνα μ.Χ., την εποχή του αυτοκράτορα Διοκλητιανού. Η Θεοδώρα, μία νεαρή πριγκίπισσα που έχει ασπαστεί τον χριστιανισμό, αρνούμενη να συμμετάσχει στις θυσίες προς τον Δία για τον εορτασμό των γενεθλίων του αυτοκράτορα, καταδικάζεται να εκπορνευτεί με τη βία και φυλακίζεται. Ο αξιωματικός Δίδυμος, επίσης χριστιανός και ερωτευμένος μαζί της, επισκέπτεται τη Θεοδώρα στη φυλακή και τη βοηθά να φυγαδευτεί ανταλλάσσοντας ρούχα μαζί της ενώ μένει ο ίδιος στη θέση της. Η απόδραση σύντομα ανακαλύπτεται, ο Δίδυμος συλλαμβάνεται και καταδικάζεται σε θάνατο. Στη συνέχεια, η Θεοδώρα παραδίδεται προσφέροντας στον Ρωμαίο κυβερνήτη τη ζωή της αντί του Διδύμου για να οδηγηθούν στο τέλος και οι δύο οικειοθελώς στο θάνατο. Το έργο κλείνει με ένα τραγούδι που υμνεί τη νίκη της αγάπης επί του θανάτου.

Ο Γκέοργκ Φρήντριχ Χαίντελ συνέθεσε τη «Θεοδώρα» το 1749, για να την παρουσιάσει ο ίδιος ένα χρόνο αργότερα στο Κόβεντ Γκάρντεν του Λονδίνου. Φαίνεται πως το έργο δεν άρεσε στο βρετανικό κοινό γιατί σύντομα ο αριθμός των προγραμματισμένων παραστάσεων περιορίστηκε στις τρεις. Χρόνια αργότερα ωστόσο, αναγνωρίστηκε η πραγματική αξία του ορατόριου, ο έντονος λυρισμός και  το συναισθηματικό βάθος της γραφής του Χαίντελ, για να φτάσει σήμερα να θεωρείται ένα από τα σπουδαιότερα θρησκευτικά δράματα όλων των εποχών.

Πηγή: elculture.gr


Η «Θεοδώρα», το αριστουργηματικό ορατόριο του Γκέοργκ Φρήντριχ Χαίντελ, σε λιμπρέτο του Άγγλου λόγιου και λιμπρετίστα Thomas Morell (1703-1784), παρουσιάζεται σε δραματοποιημένη μορφή, στην «κλασική» πλέον σκηνοθεσία του Πίτερ Σέλαρς ο οποίος μεταφέρει τη δράση στη σύγχρονη Αμερική, αναδεικνύοντας το έργο σε μια διαχρονική παραβολή της πνευματικής αντίστασης σε κάθε είδους τυραννία.














I had heard Lorraine Hunt singing Theodora in a concert performance, and was overwhelmed by the drama and sheer beauty of Handel's music. The story is basic tabloid fare, and Handel treats it almost entirely as interior drama. [An oratorio in three acts, it concerns the Christian martyrdom of Theodora and her Roman lover Didymus.] When Glyndebourne asked me where they should begin with staging Handel, it was easy. At that time, people didn't quite know what Theodora was: we were in a secret cathedral, discovering a masterpiece the world did not know.

The staging flowed in an extremely organic way. Visionary works such as this wait for another era in which they are allowed to speak in their own language and not have to ventriloquise the conventional wisdom of the day. A lot of it was done as in medieval or byzantine art – as simply as possible: the emotional and spiritual aura of each character was what we were concerned with.

The work is a soundtrack for two people leaving this world that is as chilling as anything Handel ever wrote. A lot of opera focuses on execution. It's a huge question: when we take people's lives as a society; when and how we justify killing. In the US, execution had been illegal for a period and then [in 1976] the Supreme Court decision turned it around. It was decided that lethal injection was "humane", but it was hidden away. I thought it was important to see what the process was. We investigated and were incredibly literal, down to the timing.

The effect was profound. During most performances, people had to be carried from the auditorium; there were emergency medical services standing by. I am not proud of putting people into an emergency medical van, of course, but I do think that's why the Greeks invented theatre: to put these things in front of citizens and say, how do we feel about them?

There was an incredible rehearsal where we ran the first act for the first time in the darkened theatre, and the piece just rose up, like some majestic host and said, "I'm here". We were weeping, holding each other, truly overwhelmed. The production remains a high point of all our lives.

Peter Sellars, director (2012)



George Frideric Handel (1685-1759)

Theodora, HWV 68 (1749)


Libretto by Thomas Morell

Theodora..........Dawn Upshaw, soprano
Didymus..........David Daniels, countertenor
Valens..........Frode Olsen, bass
Septimius..........Richard Croft, tenor
Irene..........Lorraine Hunt Lieberson, mezzo-soprano
Messenger..........Michael Hart-Davis, tenor

The Glyndebourne Chorus
Orchestra of the Age of Enlightenment
Μουσική διεύθυνση (Conductor): William Christie

Σκηνοθεσία (Direction): Peter Sellars

Glyndebourne, 1996

Αγγλικοί υπότιτλοι – English subtitles

Βίντεο υψηλής ευκρίνειας με υψηλή ποιότητα ήχου
High definition video with high quality audio

(HD 1080p)

Δημοσιεύτηκε στο Youtube για λογαριασμό του Blog «Πρόσωπα της Κλασικής Μουσικής»
Uploaded on Youtube for the Blog "Faces of Classical Music"

Πρώτη δημοσίευση: 3 Ιουλίου 2014 – First publication: July 3, 2014
Τελευταία ενημέρωση: 3 Ιουλίου 2014 2016 – Last update: July 3, 2016














Η σπουδαία Αμερικανίδα μεσόφωνος Λορέν Χαντ Λίμπερσον, γνωστή για τις ερμηνευτικές της ικανότητες και την εξαιρετική ποιότητα της φωνής της, ερμήνευσε με την ίδια συνέπεια έργα μπαρόκ όσο και έργα σύγχρονων συνθετών. Πρώην βιολονίστρια, στράφηκε αποκλειστικά στο τραγούδι στην ηλικία των τριάντα. Πέθανε από καρκίνο του μαστού, μόλις 52 χρόνων. (Η δημοσίευση αυτή αφιερώνεται στη μνήμη της.)



The recipient of both awards and critical superlatives in the late 1990s and early 2000s, mezzo soprano Lorraine Hunt Lieberson was identified with the revival of Baroque-era vocal music specifically and with a deep capacity for emotional communication with audiences generally. Many who experienced Hunt Lieberson's performances in person came away with an uncanny feeling that she not only made operatic roles her own but also used them in the service of self-revelation, of emotional truth.

Born in San Francisco in 1954, Lorraine Hunt was the daughter of an opera conductor father and a singer mother. Her father made her listen to Saturday afternoon Metropolitan Opera broadcasts on the radio and pushed her vocal gift forward, but for much of her life she was primarily an instrumentalist. She studied violin and piano as a youngster and then switched to the viola, later crediting the sensitivity to musical surroundings that violists must cultivate with influencing her approach as a singer. As a music major at San Jose State University, Hunt studied both voice and viola but gravitated toward the latter after paying the bills with a seat in the San Jose Symphony. She became involved in the Bay Area's freewheeling music scene, briefly moving to Mexico at one point after her jazz musician boyfriend was arrested on drug charges there – she bribed guards to let her live with him in a cabin on the jail site.

In 1985 Hunt played the role of Sesto in a production of Handel's Julius Caesar directed by the innovative and controversial Peter Sellars, impressing observers with her hell-for-leather performance. A role in a 1987 production of Don Giovanni under Sellars, and the theft of her uninsured viola a year later, gave her a further push in the direction of singing. She specialized strongly but not exclusively in Baroque works, appearing consistently more often with top early music ensembles like Les Arts Florissants, with whom she performed Rameau's Hippolyte et Aricie under conductor William Christie during the 1996-1997 season.

In 1997 Hunt appeared at the Santa Fe Opera in a new work, Peter Lieberson's Ashoka's Dream. She married its composer two years later, but faced renewed challenges after being diagnosed with breast cancer and losing her sister Alexis to the disease in 2000. After undergoing a double lumpectomy, Hunt Lieberson responded artistically to this new challenge, appearing in a unique staging of two Bach cantatas (Ich habe genug and Mein Herz schwimmt in Blut) mounted by Sellars in London in 2001. The staging involved a dramatic realization of Bach's grim themes of death. "There were tubes hanging out of me", Hunt Lieberson told The Guardian newspaper. In the early 2000s, after Hunt Lieberson and her husband moved to Santa Fe, she cut back on her schedule of live appearances somewhat but continued to impress audiences with the intensity of her performances. Her relative obscurity compared with other mezzos of her talent level was partly due to her affinity for the live stage rather than the confines of the recording studio. Having been somewhat secretive about her illness, Hunt Lieberson died, much to surprise of the musical community, at home on July 3, 2006.

Source: James Manheim (allmusic.com)

















































































































































































































Περισσότερες φωτογραφίες / More photos


Δείτε επίσης – Watch also

George Frideric Handel: Messiah – Susan Gritton, Cornelia Horak, Bejun Mehta, Richard Croft, Florian Boesch – Claus Guth, Jean-Christophe Spinosi (HD 1080p)

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