Operabase Home
Eternal Light: Harmony from another world
Eternal Light
Показване на всички снимки на Eternal Light: Harmony from another world
Eternal Light: Harmony from another world
Дял

Eternal Light: Harmony from another world by Allegri, Gregorio, Biber, H. I. F. V., нед 25 авг 2024, от (2024/2024), диригент Erin Helyard, City Recital Hall, Sydney City, Australia

Разглеждане на артистите и постановъчната трупа 25 авг 2024
Изберете РаботаMiserere, Allegri, Gregorio

В ролите

Инструментариум

Постановъчната трупа

Ансамбъл

Програмата е частично налична

2

Eternal Light: Harmony from another world
Eternal Light is a celebration of the power of one of the most famous pieces of Baroque vocal writing: Allegri's Miserere Pinchgut Opera continues its illuminating and fascinating journey into concert repertoire with its latest presentation, Eternal Light. Specially curated by Artistic Director, Erin Helyard, the program will feature a newly reconstructed version of Allegri’s famous Miserere, together with the luminous version we all know and love, along with a rare performance of Biber’s Requiem. Composed during the reign of Pope Urban VIII in the 1630s for the exclusive use of the Papal Choir in the Sistine Chapel during Holy Week, Allegri’s Miserere has captivated audiences and composers for centuries. Erin Helyard explains, “The famous Miserere with the high Cs—or what some now call the “English” Miserere—is in fact a beautiful error. In the 19th century a music journalist misread a description of Mendelssohn’s, who heard some astonishingly high notes during a performance, and shoe-horned the ornament into the wrong section. But what a beautiful mistake! I wanted to go back in time to the earliest sources of Allegri’s Miserere — before those amazing high Cs. I hit upon the idea of commissioning award-winning 17th-century ornamentation expert, Australian tenor Jacob Lawrence, to do what was previously thought impossible: put down in notes a version of Miserere that resembles what we know about the ornamented performance practice of Rome in the 1630s. I also wanted to present the version of the Miserere we all know and love too, as a kind of finale that tethers our historical journey with the present.”
Относно информацията е достъпна в: English
Научете повече за композитора
Научете повече за музикалната работа