Performers
Les Épopées
Hélène Houzel, Violine
Sophie Iwamura, Violine
Claire Gautrot, Viola da gamba
Alice Coquart, Violoncello
Léa Masson, Theorbe
Stéphane Fuget, Cembalo, Leitung
Claire Lefilliâtre, Sopran
Isabelle Druet, Mezzosopran
Mélodie Ruvio, Alt
Cyril Auvity, Tenor
Programme
Francesco Cavalli
Sinfonia (Eliogabalo) (1667)
1. Akt, Szenen 14 und 15: Eliogabalo, Zotico, Lenia, Atilia, Flavia (Eliogabalo) (1667)
Claudio Monteverdi
2. Akt, Szene 6: Nerone, Lucano (L'incoronazione di Poppea. Dramma in musica in Prolog und drei Akten) (1642–1643)
Francesco Cavalli
2. Akt, Szenen 13 und 14: Satirinio, Linfea (La Calisto) (1651)
Domenico Freschi
Sinfonia (Tullia superba) (1678)
3. Akt, Szene 3 und 4: Tullia, Curzia, Domizia, Floro (Tullia superba) (1678)
1. Akt, Szene 4: Bireno, Niso, Alinda (Olimpia vendicata) (1682)
Antonio Sartorio
2. Akt, Szenen 23 und 24: Rodisbe, Sesto, Tolomeo (Giulio Cesare in Egitto) (1676)
Claudio Monteverdi
1. Akt, Szene 2–9: Melanto, Eurimaco (Il ritorno d'Ulisse in patria. Dramma in musica in drei Akten) (1640))
Carlo Pallavicino
Sinfonia (Messalina) (1679)
2. Akt, Szenen 19 und 20: Alindo, Tullio, Claudio (Messalina) (1679)
Giovanni Legrenzi
1. Akt, Szenen 12 und 13: Clelia, Vitige (Totila) (1677)
Marc' Antonio Ziani
Sinfonia (Allesandro magno in Sidone) (1679)
1. Akt, Szenen 1 und 18: Taide, Eumene (Allesandro magno in Sidone) (1679)
1. Akt, Szene 1: Gige, Brillo (Candaule) (1680)
Claudio Monteverdi
Finale: Amore, Venere, Nerone, Poppea (L'incoronazione di Poppea. Dramma in musica in Prolog und drei Akten) (1642–1643)
Note
Unterstützt von BUWOG
Medienpartner Ö1 Club und Der Standard
Im Anschluss an das Konzert (Buffet Foyer Berio-Saal und Berio-Saal): Buffet ex (z)Ess.Lassen Sie sich von der raffinierten Kochkunst des Konzerthaus-Restaurants EssDur kulinarisch verwöhnen!
Subscription series
»Resonanzen«-Abo
Festival
Resonanzen »Unterwelten«
Links
https://www.lesepopees.org
Temptation, seduction, voyeurism and unrestrained desire up to and including rape - all this was part of the recipe for success of 17th century Venetian opera and, in particular, of its staging of tyrannical rule. An increasingly gimmicky stage technique also resulted in ever more explicit erotic depictions, against whose backdrop the type of the virtuous hero became ever more sharply defined. Les Épopées, currently among the top 10 best French original sound ensembles, presents a tableau of such historical pleasure scenes between lascivious decadence and the struggle for sexual self-determination at this year's dinner concert.