Dazzling Italian Baroque Arias
We are thrilled to welcome Irina Medvedeva on March 15, 2025 as our guest artist in this concert of ravishing arias from Italian Baroque opera. Her flexible, supple, yet powerful soprano voice will wow and delight us in exquisite music by three of the most celebrated 18th-century composers of this genre, Vivaldi, Handel, and Hasse. She is joined by violinists William Sirois and James Moat, violist Patrick Horn, cellist Peter Cosbey, and harpsichordist Elizabeth Ganiatsos. Moods will range from gentle, lyrical and pastoral to passionate, dramatic and fiery, with virtuosic display! Sinfonias, overtures, and dances for strings drawn from operas lend variety and give the singer a break.
We also include Vivaldi's bold Latin motet for solo soprano and strings, “In furore iustissimae irae - In the fury of most righteous wrath”, which rages stormily, with fury and drama. Although it's a sacred work, we programmed it because it smacks of the theatricality of opera. It includes two arias with a recitative in between. Its virtuosity is relieved at times by calm lyricism, and it concludes with an exultant Alleluia.
Irina opens with Handel's light and buoyantly joyous aria, “Tornami a vagheggiar” (“Return to me to languish”), often heard as an encore, and assigned to the principal character of his opera Alcina from 1735. This was one of three operas Handel based on Ariosto's Renaissance epic poem Orlando Furioso. Interestingly, Ariosto's literary masterpiece, written in early 16th-century Ferrara, formed the basis of numerous Baroque operas, under a variety of titles, including those by all three composers represented in our present concert. Like Handel, Vivaldi wrote three, and Hasse one.
Both Alcina and her sister Morgana are beautiful but dangerous sorceresses. Irina's second aria from Handel's opera Alcina, given to Morgana, depicts a totally different mood from her sister's. “Credete al mio dolore” (“Believe in my pain”) is gorgeous, slow, sorrowful, and in a minor key. A ravishing solo cello line, sensitively performed by Peter Cosbey, interweaves with the voice, supported by the harpsichord. The cello plays a soulful introduction before the singer enters, and returns later for a beautiful, free, cadenza-like conclusion.
Two very contrasting arias from Handel's historic opera Giulio Cesare of 1724 follow, both sung by Cleopatra. The transcendent, famous “Piangerò”, in which she mourns her fate, is slow and languishing. The mood is briefly interrupted by a short, quick, dramatic middle section, before returning to the slow, sorrowful opening. This time, it is performed with improvised ornamentation, as was the custom.
Famed Cleopatra's second aria speaks of finding comfort within her soul, just as a ship ravaged by storms does when entering a safe harbour. This she expresses in the animated “Da tempeste”, an extremely virtuosic coloratura aria, with demanding vocal acrobatics. It veritably sparkles!
A word now about our three composers: Antonio Vivaldi, all-time favourite Venetian composer of the 18th century, is better known for his very numerous concerti than for his operas, but he wrote 50 of the latter, of which 16 survive.
German-born George Frideric Handel settled in London in 1712, but lived and worked in Florence, Naples and Rome prior to that. He assimilated the Italian Baroque musical idiom, and wrote 42 operas in the Italian language and style, carrying Italian opera to its pinnacle.
Our third composer, Johann Adolph Hasse, deserves to be better known, having achieved enormous fame and popularity during his day as a composer of over 60 Italian operas. He lived in Naples and Venice, as well as in Dresden and Vienna, and was married to the illustrious Venetian mezzo-soprano Faustina Bordoni, a true virtuosa.
Vivaldi is represented by two instrumental works on our program: by the energetic sinfonia which opens our concert and also serves as the overture to his opera L'Olimpiade, and later by his moving three-movement concerto for strings in G minor, RV 157.
Choreographed dance played a pivotal role in Handel's Italian operas. To illustrate this we hear three short dances from Alcina: the gracious musette, an elegant menuet, and the sprightly gavotte alla breve. Handel's first opera written for performance in Italy was Rodrigo, dating from 1707 when Handel was just 22. We present its overture with its accompanying suite of stylized French Baroque dances: bourrée, sarabande, rigaudon, minuet, and gigue.
As the concert draws to its end, we'll dazzle you with the fiery three-movement string sinfonia in G minor, Op. 5, No. 6, by Hasse, in the spirit of some of the arias we have programmed. This sinfonia's powerful, tempestuous mood is matched by Hasse's dramatic coloratura aria which follows, a favourite of Irina's, and one eminently suited to her vocal style. Cleopatra sings “Morte col fiero aspetto - Death with its fierce face holds no terror for me”, the most famous aria from Hasse's serenata Marc'Antonio e Cleopatra. It is scored for only two soloists and orchestra, and was commissioned by banker and royal advisor Carlo Carmignano, to be performed in 1725 at his stately country estate near Naples. The composer was 26.
The demanding soprano role of Cleopatra was performed by super-star castrato Farinelli, for whom this work was written. He was 19 years old; his vocal range was over three octaves. Castrati dominated the stage of Italian Baroque opera, taking lead female roles. They were known for their powerful voices, extraordinary lung capacity, and unique timbre. Many acquired great fame and riches. Farinelli was the most celebrated castrato of all time! As an aside, the libretto of Handel's Alcina was taken from an opera composed by Farinelli's brother. A 1994 film about the brothers won a Golden Globe for Best Foreign Language Film and was nominated for an Academy Award.
Hasse's “Morte” parallels the virtuosity and intensity of the fiery instrumental sinfonia which preceded this aria, as well as that of another stunning aria of Cleopatra's, “Da tempeste” from Handel's Giulio Cesare, sung earlier by Irina. The final two Hasse works dazzle, providing a most brilliant conclusion to an evening celebrating Irina and Italian Baroque opera's vocal luminaries.
Our concert is generously sponsored by the Institute of Italian Studies - Lakehead University. In keeping with the Italian theme, there will be a ballot draw at intermission for a $75 gift card to Giorg Cucina e Barra, a fine-dining Italian restaurant noted for its exquisite food. Soprano Irina Medvedeva and the five instrumentalists are very excited about the concert's imaginative repertoire, new to Thunder Bay audiences. The buzz has already gone out about this extraordinary concert. We can't wait to amaze you!
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An Important Announcement!
47th Season Passes for 2025-26 may now be ordered. They're transferable! Pay later if you wish. There is no price increase: 7 great concerts for $150; students $90. That's one free concert!
They all take place on Saturdays at St. Paul's United Church at 7:30 PM.
To order: Sign up at a concert, call 807 768-7420, or email us at: inquiries@consortiumab.org.
People purchasing by June 30 will be entered in an Early Bird Draw.
The draw prize will be a $100 Gift Card to Bight Restaurant & Bar, courtesy of owner Bianca Garofalo.
Here are our 2025-26 Concert Dates. We would love you to subscribe!
September 6, 2025: “Basso Profundo”.Peter Cosbey, cello & Martin Blanchet, double bass
September 27, 2025: Mozart & Weber Clarinet Quintets: Peter Shackleton & Strings
November 2025, Date TBA: Flutists Penelope Clarke, Doris Dungan; cellist Peter Cosbey; guest harpsichordist Borys Medicky
January 10, 2026: Classic & Romantic String Quintets with 2 violas - Mozart & More!
March 21, 2026: Virtuoso violinist Jeremy Bell plays Vivaldi & Locatelli concerti
May 9, 2026: Matt Sellick In Concert, flamenco guitar
February or April, 2026, Date TBA: Tamarack Wind Quintet
By becoming a subscriber you will be spared the trouble of searching for cash at the door, there is a fast-track entrance for subscribers, which facilitates things, plus you save a bit of money. You'll also have the pleasure of knowing that you are supporting Consortium Aurora Borealis, so that we may continue bringing exceptional chamber music concerts to Thunder Bay!
For our next chamber music concert, we present Viola Quintets by Mozart and Beethoven. Delight in an elegant evening of gorgeous string quintets with two violas for added richness, by the Classical period's greatest composers. Top TBSO musicians will perform: Violinists Katie Stevens and William Sirois; violists Patrick Horn and Geena Salway; cellist Peter Cosbey.
Mozart: String Quintet in G minor, K.516
Beethoven: String Quintet in C major, Op. 29
As usual, there will be a ballot draw at intermission for a special prize.
Saturday, May 10, 7:30 PM at St. Paul's United Church.
Thanks as ever to all of you for your interest in our musical offerings, and for your support!
Warmly,
Elizabeth