FULL Passio secundum Ioannem or Passion according to St. John (Scarlatti) Sint-Truiden 2016
PROGRAMME: Alessandro Scarlatti (1685-1757): Passio secundum Ioannem (Passion according to St. John) Antonio Nola: In Manus tuas Stabat Mater (1699) Alessandro Scarlatti’s St John Passion was the first Passion setting written in seventeenth-century Italy. Scarlatti treats the role of the Evangelist (composed in the mezzo-soprano register) in highly unusual fashion, giving his narrative numerous emotional […]
FULL Passio secundum Ioannem or Passion according to St. John (Scarlatti) Sint-Truiden 2016
Video Recording from: YouTube    
FULL VIDEO
    
   
Information on the Performance
- Work Title: Passio secundum Ioannem or Passion according to St. John  
- Composer: Scarlatti Domenico  
- Libretto:
- Venue & Opera Company: Béguinage de Sainte-Agnès, Sint-Truiden, Belgium  
- Recorded: March 27, 2016
- Type: Concert Live
- Singers: Giuseppina Bridelli, Salvo Vitale Bass, Caroline Weynants, Guillaume Houcke, Pierre Derhet, Maxime Melnik
- Conductor: Leonardo García Alarcón  
- Orchestra: Millenium Orchestra, Capella Mediterranea  
- Chorus: Choeur de Chambre de Namur  
- Stage Director:   
- Costume Designer:   
Information about the Recording
- Published by: ALTEA MEDIA, France TV  
- Date Published: 2016  
- Format: Streaming
- Quality Video: 3 Audio:3
- Subtitles: nosubs  
- Video Recording from: YouTube     FULL VIDEO
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ADDITIONAL INFORMATION ON THIS PERFORMANCE
PROGRAMME:
Alessandro Scarlatti (1685-1757): Passio secundum Ioannem (Passion according to St. John)
Antonio Nola: In Manus tuas Stabat Mater (1699)
Alessandro Scarlatti’s St John Passion was the first Passion setting written in seventeenth-century Italy. Scarlatti treats the role of the Evangelist (composed in the mezzo-soprano register) in highly unusual fashion, giving his narrative numerous emotional passages. The Voice of Christ (bass) is invariably haloed by a string accompaniment. The version presented by Leonardo García Alarcón inserts meditations assigned to the chorus; these are taken from Scarlatti’s Responsories for Holy Week, polyphonic settings that reveal a little-known genre practiced by this composer.
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