{oh!} Orchestra / Pastuszka / Sariel / Szczepańska / Tomkiewicz / Cantar e Pizzicar

Early music
My Season Ticket

Friday

14.11.202519:30

Chamber Hall

Seats

Performers

{oh!} Orchestra

Martyna Pastuszka – conductor / violin

Alon Sariel – mandolin

Dorota Szczepańska – soprano

Rafał Tomkiewicz – counter-tenor

Magdalena Łoś-Komarnicka – compere

Program

Georg Philipp Telemann

Concerto in G major, ‘Polish’, TWV 43:G7

Leonardo Vinci

Parto con quella speme, Ernesto’s aria from Gismondo, re di Polonia (Gismund, King of Poland)

Tomaso Albinoni

Dopo i nembi, e le procelle from opera L’Eraclea (Heraclea)

Johann Adolf Hasse

Concerto in G major for mandolin

Bella etade, duet from the serenata Marc’Antonio e Cleopatra (Mark Antony and Cleopatra)

Domenico Scarlatti

Aure voi, che sussurrando, Carlo’s aria from Carlo Re d’Alemagna (Charles, King of Germany)

Leonardo Vinci

Ama chi t’odia, Cunegunda’s aria from Gismondo, re di Polonia (Gismund, King of Poland)

Antonio Vivaldi

Concerto in C major for mandolin, RV 425

Transit aetas from the oratorio Juditha triumphans (Judith Triumphant), RV 644

Johann Adolf Hasse

Mea tormenta, properate!, Mary Magdalene’s aria from the oratorio Sanctus Petrus et Sancta Maria Magdalena (Saint Peter and Saint Mary Magdalene)

Antonio Vivaldi

Violin Concerto in A minor No 4 from La Stravaganza, RV 357

Antonio Caldara

Sapesti lusinghiero, Venceslao’s aria from Il Venceslao (Venceslao, King of Poland)

Antonio Vivaldi

Sento in seno ch’in pioggia di lagrime, Lotario’s aria from the opera Tieteberga, RV 737

Georg Frideric Handel

Caro! Bella! Più amabile beltà, duet of Cleopatra and Caesar from Giulio Cesare in Egitto (Julius Caesar in Egypt), HWV 17

There will be no shortage of ohs! and ahs! during an evening of Baroque arias and duets performed by {oh!} Orkiestra with outstanding soloists Dorota Szczepańska and Rafał Tomkiewicz. The repertoire prepared for the NOSPR concert is thick with political intrigues and courtly romances, which is business as usual for the Baroque stage. Yet, It is a rare occasion when, alongside narratives of ancient, mythological and biblical heroes, we are invited to observe what transpired at the royal courts of Kraków and Warsaw in Poland. Gismondo, re di Polonia is an opera by Leonardo Vinci, which, after centuries of oblivion, has been revived by Martyna Pastuszka, artistic director of the {oh!} Orkiestra. We also owe her a debt of gratitude for reviving Antonio Caldara’s opera IlVenceslao, whose title character is based on Władysław IV Vasa.

The Polish thread also emerges in the second strand of the programme, devoted to instrumental concertos. The evening opens with Georg Philipp Telemann’s Concerto in G major, ‘Polish’. Unlike Caldara and Vinci, Telemann did not know Poland merely through the imagination of his librettists. As Kapellmeister (i.e. master of the chapel choir) at the court of Count Erdmann II Promnitz in Sorau (now Żary, Poland), he accompanied his patron on journeys to his other estates, including the castle in Pszczyna. His fascination with Polish folklore is evident in many of his works.

Will the Old Polish inspirations render the music of Telemann, Vinci and Caldara more ‘familiar’ than the works of George Frideric Handel or Tomaso Albinoni? Will we relate more to the biblical Judith from Vivaldi’s oratorio or Judith, daughter of King Sigismund? In the world of music, anything is possible!

Szymon Maliszewski

Concert duration (intermission included): approximately 90 minutes

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