(US) Top Ten Discoveries of 2010 from Harmonia Early Music

Contributed by Admin on Jan 08, 2011
This is the third annual podcast to focus on some of the most interesting early music heard throughout the year. The list, whittled down from hundreds of choices, is meant to cover recordings that have been heard either on the weekly podcast or program, yet there is at least one gem that will be new to Harmonia’s loyal followers.

(US) Arcimboldo's Feast for the Eyes -- Smithsonian Magazine

Contributed by Admin on Jan 08, 2011

(Although not directly music related, this article may be of interest to some -- ed.)

The job of a renaissance court portraitist was to produce likenesses of his sovereigns to display at the palace and give to foreign dignitaries or prospective brides.

(FR) "De Paris à Versailles". Charpentier, Marais, Couperin -- Les Passions Orchestre Baroque (2011 January 22)

Contributed by Admin on Jan 08, 2011

Église du Bouclier – Strasbourg

With Italian influence and in defense of the French style, these three composers entertained contrasting rapports with the Court at Versailles. The delicacy and richness of music by Charpentier regularly attracted Louis XIV in Paris, while Marin Marais, Lully's successor, enjoyed the grace of the King in the splendor of the Court. Couperin, meanwhile, sailed incessantly from Paris to Versailles and was able to skillfully combine French and Italian styles by the subtle and learned style of his writing.

(US) Johann Adolph Hasse: Antonio e Cleopatra - Review by Dr. Brian D. Stewart (Opera Today)

Contributed by Admin on Jan 07, 2011
Johann Adolph Hasse (1699-1783) was arguably the most successful opera composer of the 18th century. Together with his favourite librettist, Pietro Metastasio, Hasse defined the genre of opera seria for an entire generation.

(US) Worth a Reprise at Age 401 -- Monteverdi Vespers of 1610 -- Review by Steve Smith (New York Times)

Contributed by Admin on Jan 07, 2011
Almost exactly a year ago, the New York soprano Jolle Greenleaf, the Boston violinist Scott Metcalfe and a couple of dozen close associates from around the country presented the fruit of what they called the Green Mountain Project: a performance of Monteverdi’s grand and glorious Vespers of 1610, mounted in observance of the work’s 400th anniversary.

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