Name: Sunt Lacrimae Rerum, Stavanger
Start: 2016-08-19T00:00:00.000Z
End: 2016-08-19T00:00:00.000Z
Location: Utstein Monastery

Admin

ArsNova

Dyrygent

Paul Hillier

Śpiewak

Sopran

Hanna Kappelin

Soprano

Kontralt

Elenor Wiman

Alto

Tenor

Jakob Skjoldborg

Thomas Kiørbye

bass

Orchestra

Ars Nova

Ann-Christin Wesser-Ingels

Kate Macoboy

Rebecca  Forsberg Svendsen

Mezzosopran

Iris Oja

Tenor (+1)

Paul Bentley-Angell

Mats Lillhannus

Asger Lynge Petersen

Jakob Soelberg

Utstein Monastery

Sunt Lacrimae Rerum, Stavanger

Oslo

Norwegia

Concert

Oratorium

Ave Maria Virgo Serena

Doleo Super Te - Absolon, Fili Mi

Lamentatio Sanctae Matris Ecclesiae

Rachel Plorans

Nesciens Mater Virgo Virum

Art Vox Reportage - On Civilisation 2.0

Three Stages

Larissa Andrea Pereira

Approved

Our concert title is a famous phrase from Virgil's Aeneid. In Carthage Aeneas visits a temple to Juno and gazes on a mural which depicts key figures from the Trojan war—the war that has driven him to this alien shore as a refugee. He perceives how mortal things touch the spirit, and that 'there are tears at the heart of things.' And it is here that he first dares to hope for safety and to have more confidence in his wrecked fortunes.The music we sing in the first part of the concert includes three laments: King David mourning the death of his son Absolon in battle; Dufay's lament for the fall of Constantinople to the Turks in 1453; and Rachel's lament for her dead child, one of many killed by Herod's men in the slaughter of the innocents. These are set between two Marian motets by the Franco-Flemish composer Jean Mouton, which express the precious beauty and hope engendered by the birth of a child.

These references to strife between people of different religions and the plight of the refugee are placed here deliberately to echo some of the themes that occur in Line Tjørnhøj's extended 'report' on the state of civilisation at the beginning of our new millennium.

The composer Pelle Gudmundsen-Holmgreen, with whom Ars Nova enjoyed a particularly close association, died earlier this summer. To commemorate Pelle and pay tribute to his marvellous music, we conclude our concert with one of the finest pieces he wrote for us: Three Stages. This is a work in three sections which began life as a musical tapestry of Copenhagen street cries (quoting Berio's Cries of London in passing,) but then interweaves a sonnet by Shakespeare, Janequin's Chant des Oiseaux, and various other local references as well.

English

Udział w spektaklu (Obsada & realizacja )

Obsada

Ensemble