Name: Madness
Start: 2025-03-26T00:00:00.000Z
End: 2025-03-26T00:00:00.000Z
Location: Konzerthaus

Admin

Freiburger Barockorchester

Direzione d'orchestra

Carolyn Sampson

Orchestra

Cantante

Soloist

Madness

Friburgo in Brisgovia

Germania

Konzerthaus

Rolf Böhme Saal

Public

concert form

Concerto

Ouverture-Suite in G Major "La Bizarre", TWV 55:G2

Alcina

Hercules HWV 60

Timon of Athens, Z.632

From Silent Shades, Z.370

Concerto in F major, RV 572 "Il Proteo, o il Mondo al Rovescio"

La Fida Ninfa, RV 714

Trio Sonata in D Minor, RV 63 ("La follia")

Hipocondrie Á 7 ZWV 187

Larissa Andrea Pereira

Approvato

Sie durfte in (fast) keiner barocken Oper, egal ob in Frankreich, England oder Italien fehlen: die „Mad-Scene“ bzw. die „Mad-Aria“, also eine Wahnsinnsszene bzw. -Arie. In diesen Passagen trieben die Komponisten die Protagonisten ihrer Opern sprichwörtlich in den Irrsinn: wahnhafte Fröhlichkeit wird gepaart mit surrealen Ängsten, der Realitätsbezug kommt den Opernfiguren in diesen Szenen völlig abhanden. Dies bot den Komponisten natürlich mannigfaltige Möglichkeiten, die kompositorischen Konventionen ihrer Zeit zu durchbrechen: harsche Harmonien, abgebrochene Phrasen und zerfahrene Koloraturen prägen die Musik der Mad-Scenes.

Deutsch

It could not be missing from (almost) any baroque opera, whether in France, England or Italy: the “Mad Scene” or the “Mad Aria”, ie a mad scene or aria. In these passages, the composers literally drove the protagonists of their operas crazy: delusional happiness is paired with surreal fears, and the opera characters in these scenes completely lose touch with reality. This of course offered the composers a variety of opportunities to break through the compositional conventions of their time: harsh harmonies, broken phrases and disjointed coloratura characterize the music of the Mad Scenes.
Together with the British soprano Carolyn Sampson, a long-time companion and friend of the FBO, we are devoting ourselves to precisely these incredible arias with works by the masters Henry Purcell, Antonio Vivaldi and George Frideric Handel.
But madness not only played a role in opera, but also in the field of instrumental music. The most prominent examples of this are certainly the numerous Follia settings, including those by Vivaldi. There are also other compositions that contain all sorts of craziness, such as Jan Dismas Zelenka's “Hipocondrie” or Georg Philipp Telemann's overture “La Bizarre”.

English

无论是在法国、英国还是意大利，（几乎）任何巴洛克歌剧中都不能缺少它：“疯狂场景”或“疯狂咏叹调”，即疯狂场景或咏叹调。在这些段落中，作曲家们简直把歌剧的主角们逼疯了：妄想的幸福与超现实的恐惧相结合，这些场景中的歌剧人物完全脱离了现实。这当然为作曲家提供了各种机会来突破他们那个时代的作曲惯例：刺耳的和声、破碎的乐句和脱节的花腔是《疯狂场景》音乐的特征。
我们与 FBO 的长期伴侣和朋友、英国女高音卡罗琳·桑普森 (Carolyn Sampson) 一起，致力于演绎这些大师亨利·珀塞尔 (Henry Purcell)、安东尼奥·维瓦尔第 (Antonio Vivaldi) 和乔治·弗里德里克·亨德尔 (George Frideric Handel) 的作品中令人难以置信的咏叹调。
但疯狂不仅在歌剧中发挥作用，也在器乐领域发挥作用。最突出的例子当然是众多 Follia 的设置，包括维瓦尔第的设置。还有其他一些包含各种疯狂的作品，例如扬·迪斯马斯·泽连卡的《希波康德里》或乔治·菲利普·泰勒曼的序曲《奇异》。

中文

Madness by Telemann, Händel, Purcell, Vivaldi, Zelenka, Da (2025/2025), Direttore d'orchestra Carolyn Sampson, Konzerthaus, Friburgo in Brisgovia, Germania

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