Historical Performance: Handel in the Haus **NEW DATE AND VENUE**

Handel in the Haus

Presented by Historical Performance at the Faculty of Music, University of Toronto in collaboration with the Theatre of Early Music;

Narrated by Howard Dyck, C.M; Violinist Adrian Butterfield leading the chamber orchestra and soloists

The Historical Performance concerts are made possible in part by major gifts from the late Ethel Harris, William Acton and Susan Loube, from the Heaslip Foundation, Brent Rinaldi and from our loyal donors.

PROGRAM

George Frideric Handel (1685–1759):

Overture from Giulio Cesare in Egitto

“Ombra cara” from Radamisto

Christian Masucci Facchini, countertenor

“Coronato Il Crin” from Agrippina

Bryce Zimmerman, countertenor

“Love in her eyes sits playing” from Acis and Galatea

Nathan Gritter, tenor

“Tornami a Vagheggiar” from Alcina

Erica Harvey, soprano

“Pastorello d’un povero armento” from Rodelinda

Jacob Thomas, tenor

“Se il cor ti perde” from Tolomeo

Emma MacNeil, soprano; Nadia Zbogar, mezzo

Oboe Concerto No.1 in Bb Major HWV 301

John Abberger, oboist

“Il volo così fido” from Riccardo primo, Re D’Inghilterra

Jane Fingler, soprano

“Ombra Mai Fu” from Serse

Nadia Zbogar, mezzo

“S’un di m’adora” from Mi Palpita il Cor

Sarah Shelley, soprano

“Va tacito e nascosto” from Giulio Cesare in Egitto

Ivan Vutev, countertenor

"Amatae face et anguibus” from Vivaldi’s Judita Triumphans

Sarah Luedke, mezzo

“Ah! Crudel” from Rinaldo

Anaïs Kelsey-Verdecchia, soprano

“Scherzano sul tuo volto” from Rinaldo

Emma MacNeil, soprano; Christian Masucci Facchini, countertenor

Giulio Cesare in Egitto Tutti

PERFORMERS

Soprano
Jane Fingler
Erica Harvey
Anaïs Kelsey-Verdecchia
Emma MacNeil
Sarah Shelley

Mezzo-Soprano
Sarah Luedke
Nadia Zbogar

Countertenor
Christian Masucci Facchini
Ivan Vutev
Bryce Zimmerman

Tenor
Nathan Gritter
Jacob Thomas

Violin
Cristina Prats Costa

Viola
Samuel Rothermel

Cello
Felix Deak

Oboe
John Abberger

Harpsichord
Christopher Bagan

PROGRAM NOTES

Historical Performance enters into a conversation with the past as we honour the memory, accomplishments and lives of all those who came before us. Our interpretations of music from all periods strive to recreate true and accurate performances of choral literature in the most authentic way possible, in the belief that historical performance practice and an understanding of the old world may give birth to the new. We take the time to reflect on what was as we imagine what could be. We are the discoverers of rhetorical conventions, of instruments and techniques, we are the artists that shed light on magnificent yet neglected masterpieces. We embrace our shared values of equal access to opportunity and genuine inclusion through voices heard anew and historical works presented with varied perspectives.

We continue our collaborations with renowned scholars such as Dame Emma Kirkby, Nancy Argenta, Charles Daniels, John Abberger, Adrian Butterfield, Peter Phillips and The Tallis Scholars, Paul Agnew and Les Arts Florissants, Paul McCreesh and the Gabrieli Consort, Steven Fox and Clarion and Voces8 alongside sought after diverse international guest performers such as Conductor Jordan de Souza, Lynne Dawson, Rihab Chaeib, Deepa Johnny as well hosting the first online masterclasses of Barbara Hannigan and Angela Hewitt. The Historical Performance Area was the first Area in the history of the Faculty of Music to invite Indigenous Artists in Residence Jonathan Adams and Andrew Balfour as we continue to seek to share our music love in thoughtful engagement with the community and world around us.

The U of T Historical Performance training program offers study in an Artist Certificate, Masters or Doctoral degree. With an average of 20 students, U of T Historical Performance is closely associated with the finest ensembles and soloists from all over the world. Limited enrolment ensures that every student benefits from the exceptional training offered by our honoured faculty and guest instructors. The intensive curriculum includes lessons, musical coaching, repertoire preparation, audition techniques, stagecraft, workshops and masterclasses. We welcome students from all backgrounds and are committed to providing the best opportunities for learning and career development.

The Historical Performance Area is directed by the Head of Historical Performance Associate Professor of Opera, Voice and Early Music, Daniel Taylor, O.C.

TEXTS & TRANSLATIONS

“Ombra cara” from Radamisto

Ombra cara di mia sposa, 

Deh! riposa,  

E lieta aspetta 

La vendetta che farò!

E poi tosto ove tu stai 

Mi vedrai 

Venire a volo, 

E fedel t’abbraccerò.

-

Dear spirit of my wife,

Ah! Rest,

And wait happily

For the vengeance I will take!

And promptly afterward,

You will see me come flying

To where you are now,

And faithfully I will embrace you

“Coronato Il Crin” from Agrippina

Coronato il crin d'alloro 

io sarò nel Campidoglio.

Ma più bramo il bel ch'adoro,

che non so corona, e soglio.

-

Soon my brow shall be crowned 

with laurels in the Capitol.

But I desire far more the beauty I adore,

and I no longer recognize crown or throne

“Love in her eyes sits playing” from Acis and Galatea

Love in her eyes sits playing,

And sheds delicious death;

Love on her lips is straying,

And warbling in her breath!

Love on her breast sits panting

And swells with soft desire;

No grace, no charm is wanting,

To set the heart on fire.

“Tornami a Vagheggiar” from Alcina

Tornami a vagheggiar,

te solo vuol amar

quest'anima fedel,

caro mio bene.

Già ti donai il mio cor;

fido sarà il mio amor;

mai ti sarò crudel,

cara mia speme.

-

Turn me to fond desire,

you alone, doth wish to love

this faithful soul,

my good dear one.

I've already given you my heart;

faithful will be my love,

never will I be cruel to you,

my dear hoped for one

“Pastorello d’un povero armento” from Rodelinda

Pastorello d'un povero armento 

pur dorme contento,

sotto l'ombra d'un faggio o d'alloro.

Io, d'un regno monarca fastoso,

non trovo riposo,

sotto l'ombra di porpora e d'oro.

-

The shepherd of a humble flock

Yet sleeps contentedly

In the shade of a beech or a laurel.

I, the powerful monarch of the kingdom,

I cannot find rest

In the shade of purple and gold

“Se il cor ti perde” from Tolomeo

Se il cor ti perde,

O caro in duolo cosi amaro 

altro dirti non sò

Mio bene, addio!

Men vado ora amorire 

e sempre nel soffrire 

scordarmi non potrò 

dell’idol mio

-

If my heart loses you,

Oh dear, in such bitter sorrow,

I know not what else to say—

My love, farewell!

I now go to die,

And forever in suffering,

I shall never forget

My beloved idol.

“Il volo così fido” from Riccardo primo, Re D’Inghilterra

Il volo così fido al dolce amato

Nido quell’augellin non ha,

Come al tuo nobil core

Quest’alma tutt’amore,

Sempre fedel sarà

-

The little bird does not have

Such a faithful flight to its sweet beloved nest

As to your noble heart

This soul, all love,

Will always be faithful.

“Ombra Mai Fu” from Serse

Frondi tenere e belle

del mio platano amato

per voi risplenda il fato.

Tuoni, lampi, e procelle

non v'oltraggino mai la cara pace,

né giunga a profanarvi austro rapace.

Ombra mai fu

di vegetabile,

cara ed amabile,

soave più.

-

Tender and beautiful fronds

of my beloved plane tree,

let Fate smile upon you.

May thunder, lightning, and storms

never disturb your dear peace,

nor may you by blowing winds be profaned.

Never was a shade

of any plant

dearer and more lovely,

or more sweet

“S’un di m’adora” from Mi Palpita il Cor

Clori, di te mi lagno, e di te, 

o nume, figlio di Citerea, 

ch’il cor feristi per una

che non sa che cosa è amore. 

Ma se d’egual saetta a lei

feristi il core, 

più lagnarmi non voglio: 

e riverente innanti al simulacro tuo 

prostrato a terra, umil, 

devoto adorerò quel Dio 

che fé contento e pago il mio desio.

S’un dí m’adora la mia crudele,

contento allor’ il cor sarà.

Che sia dolore, che sia tormento

questo mio seno più non saprà.

-

Clori, I lament because of you,

O god, son of Cythera,

Who pierced my heart for one

Who knows not what love is.

But if with the same arrow

You have wounded her heart as well,

I shall complain no more:

And reverently, before your image,

Prostrate upon the ground, humble,

I shall devoutly worship that god

Who has fulfilled and satisfied my desire.

If my cruel beloved should ever take to 

loving me, then my heart will be blithe.

And my soul will know no longer

the dread of pain and anguish.

“Va tacito e nascosto” from Giulio Cesare in Egitto

Va tacito e nascosto,

quand'avido è di preda

l'astuto cacciator.

E chi è mal far disposto,

non brama, ch'alcun veda

l'inganno del suo cor 

-

He goes silent and hidden,

When eager for prey,

The cunning hunter.

And he who loves evil

Does not wish for anyone to see

The deceit in his heart.

"Amatae face et anguibus” from Vivaldi’s Judita Triumphans

Armatae face et anguibus 

A caeco regno squallido 

Furoris sociae barbari

Furiae venite ad nos. 

Morte, flagello, stragibus 

Vindictam tanti funeris 

Irata nostra pectora 

Duces docete vos.

-

Armed with your torches and your serpents,

from your blind and squalid realm,

ye companions of cruel frenzy,

O Furies, come to us.

With your whips, with death and slaughter,

lead us and teach

our enraged breasts

to avenge the death of so great a general

“Ah! Crudel” from Rinaldo

Ah! crudel, il pianto mio 

deh! ti mova per pietà!

O infedel al mio desio 

proverai la crudeltà.

- 

Ah, cruel one, my tears - 

please, may they move you to pity! 

Oh, unfaithful to my desire,

You shall test my cruelty.

“Scherzano sul tuo volto” from Rinaldo

Almirena

Scherzano sul tuo volto

Le grazie vezzosette

A mille, a mille.

Rinaldo

Ridono sul tuo labbro

I pargoletti Amori

A mille, a mille.

Almirena & Rinaldo

Nel bel fuoco di quel guardo

Amor giunge al forte dardo

Care faville.

-

Almirena

Play upon your face

The charming Graces,

A thousand, a thousand.

Rinaldo

Laugh upon your lips

The little Loves,

A thousand, a thousand.

Almirena & Rinaldo

In the beautiful fire of that gaze,

Love sends forth its mighty dart—

Dear sparks.

Giulio Cesare in Egitto Tutti

Ritorni omai nel nostro core

la bella gioia ed il piacer.

sgombrato è il sen d’ogni dolore,

ciascun ritorni ora a goder.

-

Lasting Joy and Peace return,

With Pleasure to our Hearts.

No more will sigh for Sorrows past

But all as one rejoice.