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Venice Baroque Orchestra:
“This is clearly an orchestra with no limits to its virtuosity”
Toronto Concert Reviews

Ann Hallenberg dazzles with sensational virtuosity and warm tone that is straight as a die…
- The Guardian (U.K.)

Venice Baroque Orchestra & Ann Hallenberg, mezzo

February 25, 2020, 7:30pm

CABELL HALL AUDITORIUM, UNIVERSITY OF VIRGINIA

Principal Underwriter: Vesta Lee Gordon
Principal Underwriter: BB&T Wealth


PROGRAM:

“The Swedish Nightingale”

Giampiero Zanocco, concertmaster
Ann Hallenberg, mezzo-soprano

VIVALDI Sinfonia in B Minor for Strings and Basso Continuo, RV 168
HANDEL Dopo L’orrore (aria from Ottone)
P. TORRI Quando il flebile usignolo (aria from L’Ippolito)
VIVALDI Concerto for Strings in B-flat Major, RV 167
VIVALDI Gelido in ogni vena (aria from Il Farnace)
VIVALDI Armatae face et anguibus (Juditha Triumphans)
VIVALDI Concerto in D major for strings and basso continuo, RV 121
HANDEL Crude Furie (Serse)
HANDEL Vieni, o figlio (Ottone)
VIVALDI Concerto in C major for strings and basso continuo, RV 119
HANDEL Scherza infida (Ariodante)
BROSCHI Son qual nave (Artaserse)


 
 
 

Founded in 1997 by Baroque scholar and harpsichordist Andrea Marcon, the VENICE BAROQUE ORCHESTRA is recognized as one of the very finest period instrument ensembles. The Orchestra has received wide critical acclaim for its concert and opera performances throughout North America, Europe, South America, Japan, Korea, Taiwan, and China, and has appeared in many more cities across the United States than any other Baroque orchestra in history.

Committed to the rediscovery of 17th- and 18th-century masterpieces, under Mr. Marcon’s leadership VBO has given the modern-day premieres of Francesco Cavalli’s L’Orione, Vivaldi’s Atenaide, Andromeda liberata, Benedetto Marcello’s La morte d’Adone and Il trionfo della poesia e della musica, and Boccherini’s La Clementina. With Teatro La Fenice in Venice, the Orchestra has staged Cimarosa’s L’Olimpiade, Handel’s Siroe, and Galuppi’s L’Olimpiade, and reprised Siroe at the Brooklyn Academy of Music in New York in its first full staging in the United States. The Orchestra has been seen worldwide through several television specials, including films by the BBC, ARTE, NTR (Netherlands), and NHK. They are the subject of three recent video recordings, and their performances were also featured on Swiss TV in the documentary film by Richard Dindo, Vivaldi in Venice.

Highlights of the 2018 season include two tours with countertenor Franco Fagioli, with concerts in London, Ljubljana, Versailles, Japan and China. The Orchestra’s annual US tour featured Anna Fusek on recorders. Recent festival appearances included Enescu Festival with mezzo-soprano Magdalena Kožená, Grafenegg with harpist Xavier de Maistre, and Schleswig Holstein with mandolinist Avi Avital.

The 2016-17 season featured performances of Vivaldi’s Juditha triumphans at Carnegie Hall, the Krannert Center of the University of Illinois, London’s Barbican Centre, and Brussels' Palais des Beaux-Arts; performances with violinist Viktoria Mullova at Vienna and Budapest; an 18-city tour of the US with violinist Nicola Benedetti; and a tour of Japan with Avi Avital.

Earlier performance highlights have included tours of Europe, the United States and Asia with countertenor Philippe Jaroussky; concerts with contralto Marie-Nicole Lemieux in France and Belgium; concerts with Avi Avital in Italy, Croatia, Germany, Spain, France, Mexico, the United States and Canada; performance in Dresden’s Frauenkirche with soprano Karina Gauvin; and a tour with Magdalena Kožená including the Istanbul Festival and the Mariinsky Theatre in St. Petersburg. In 2010, the VBO premiered Philip Glass’s violin concerto, The American Four Seasons, with violinist Robert McDuffie in a 28-city US tour.

The Orchestra’s numerous recordings include Avi Avital in Vivaldi concertos for Deutsche Grammophon; Philippe Jaroussky in Porpora arias for the Erato label, which received a Grammy nomination; and a pasticcio of Metastasio’s L’Olimpiade for the Naïve label featuring the recording premieres of many 18th-century opera arias, which was awarded Choc du Monde de la Musique. The VBO has an extensive discography with Sony and Deutsche Grammophon. Their world-premiere recording of Andromeda liberata for DG was followed by violin concertos with Giuliano Carmignola; Vivaldi sinfonias and concertos for strings; Vivaldi motets and arias with soprano Simone Kermes, two discs with Ms. Kožená—Handel arias and Vivaldi arias; Vivaldi violin concertos with Viktoria Mullova and Mr. Carmignola, and Italian arias with Ms. Petibon. The Orchestra’s earlier discography on Sony with Mr. Carmignola includes The Four Seasons, previously unrecorded Vivaldi concertos, and a collection of Bach arias featuring Angelika Kirchschlager. The Orchestra has also been honored with the Diapason d’Or, Echo Award, and the Edison Award.

The Venice Baroque Orchestra is supported by Fondazione Cassamarca in Treviso.

Swedish mezzo-soprano ANN HALLENBERG rose to fame in 2003 when she replaced Cecilia Bartoli on one day’s notice in Handel’s IL TRIONFO DEL TEMPO E DEL DISINGANNO at the Opernhaus Zürich. She is now established as one of the world’s leading mezzo-sopranos.

She regularly appears in opera houses and festivals such as Teatro alla Scala Milan, Teatro la Fenice Venice, Teatro Real Madrid, Theater an der Wien, Opernhaus Zürich, Opéra National Paris, Théâtre des Champs-Elysées Paris, Théâtre de La Monnaie Brussels, Netherlands Opera Amsterdam, Vlaamse Opera Antwerp, Bayerische Staatsoper München, Staatsoper Berlin, Semperoper Dresden, Norwegian National Opera, Royal Swedish Opera, Salzburg Festival, Salzburg Whitsun Festival, Edinburgh Festival and the Drottningholm Festival in Stockholm.

Her operatic repertoire includes a large number of roles in operas by Rossini, Mozart, Gluck, Handel, Vivaldi, Monteverdi, Purcell, Bizet and Massenet.

She is highly sought after as a concert singer and she frequently appears in concert halls throughout Europe and North America. She has built an unusually vast concert repertoire that spans music from the early 17th Century works of Monteverdi and Cavalli, via Mozart, Beethoven, Berlioz, Mahler, Martin and Chausson up to 20th-century works of Franz Waxman and Daniel Börtz. She has performed with orchestras such as the Berliner Philharmoniker, Orchestre de Paris, Orchestre national de France, Royal Concertgebouw Orchestra, Accademia Nazionale di Santa Cecilia, London Symphony Orchestra, BBC Symphony Orchestra, Los Angeles Symphony Orchestra, Orchestre Symphonique de Montréal, Barcelona Symphony Orchestra, Russian National Orchestra, Swedish Radio Orchestra, Royal Stockholm Philharmonic Orchestra and the Danish Radio Orchestra. She enjoys a special close collaboration with the ensembles Les Talens Lyriques, Il Pomo d’Oro and Europa Galante.

Ann Hallenberg regularly works with conductors such as Fabio Biondi, William Christie, Teodor Currentzis, Sir John Eliot Gardiner, Emmanuelle Haïm, Daniel Harding, Andrea Marcon, Cornelius Meister, Marc Minkowski, Riccardo Muti, Kent Nagano, Sir Roger Norrington, Sir Antonio Pappano, Evelino Pidò and Christophe Rousset.

2017 included the title role in AGRIPPINA at Opera Vlaanderen, Marguérite in LA DAMNATION DE FAUST in London and La Côte-Saint-André with Orchestre Révolutionnaire et Romantique, Vagaus in JUDITHA TRIUMPHANS in New York and Illinois with Venice Baroque Orchestra, Tangia in Gluck’s LE CINESI at Opera Palau de les Arts Reina Sofía in Valencia, Mahler’s RÜCKERT LIEDER in Amsterdam with the Royal Concertgebouw Orchestra, the title role in Vivaldi’s JUDITHA TRIUMPHANS in Venice, Beethoven’s SYMPHONY NO. 9 in Brussels, Antwerp and Gent with the Royal Flemish Orchestra, Bach’s CHRISTMAS ORATORIO in Paris with Orchestre National de France, Elgar’s THE DREAM OF GERONTIUS in Dortmund with Dortmunder Philharmoniker, Bach’s ST JOHN PASSION in Rome with Accademia Nazionale di Santa Cecilia, Medea in Handel’s TESEO in Moscow with Russian National Orchestra, arias by Handel at Teatro Real Madrid, Gismonda in Handel’s OTTONE in Vienna and Beaune, arias written for the castrato Farinelli in Gdansk with Les Talens Lyriques, arias by Rameau and Telemann in Hamburg with Les Talens Lyriques, and recitals with the pianist Magnus Svensson in Madrid as well as in Stockholm Concert Hall.

2018 started with Giulietta in Zingarelli’s GIULIETTA E ROMEO at Theater an der Wien, Mahler’s KINDERTOTENLIEDER in Vienna and Salzburg, Berlioz’s LES NUITS D’ÉTÉ in London and Barcelona with the London Symphony Orchestra, Mahler’s SYMPHONY NO 2 in Tokyo and Osaka with Yomiuri Nippon Symphony Orchestra, Bach’s ST MATTHEW PASSION in Amsterdam with the Royal Concertgebouw Orchestra, Verdi‘s REQUIEM in London, Pisa, and Wroclaw with The Monteverdi Choir & Orchestras, Teseo in Handel’s ARIANNA IN CRETA in Halle with Il Pomo d’Oro, Irene in Handel’s THEODORA in London with Arcangelo, arias by Handel in Madrid and Sevilla with Orquesta Barroca de Sevilla, arias by Rameau and Telemann in Brussels with Les Talens Lyriques, cantatas by Vivaldi in Rome with Accademia Barocca di Santa Cecilia, arias by Handel in Athens with Il Pomo d’Oro, arias by Handel in Ernen with Baroque Ensemble Ernen and various baroque arias in Trondheim with Trondheim Baroque.

In the summer of 2017 her latest solo-CD “Carnevale 1729” was released and it is receiving raving reviews. She has so far performed the program in Vienna, Venice, Halle, Bordeaux and Froville with Il Pomo d’Oro and there are several more concert coming.