Der Tod der Dido (The Death of Dido)
Singspiel in one act (Musik der Mannheimer Hofkapelle, Vol. 3)
In his penultimate opera Tod der Dido [The Death of Dido] (1779), Ignaz Holzbauer (1711-1783) presented himself not only as a master of fine musical word interpretation, but also as an imaginative music dramatist. While the original Italian version underlined his position as one of the leading opera composers of the time, the German version which he wrote a year later additionally emphasizes his position as a pioneer of the German National Opera. Frieder Bernius therefore chose this version for a production performed at the Schwetzingen Festival in 1997, which is now being released on CD for the first time.
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(16)
- Sinfonia
- Aria: So täuscht mein Herz die Liebe
- Recitativo: Wie bestürzt bin ich! / O Himmel! Schwester!!
- Recitativo: Ihr Götter! Hilfe!
- Aria: Du liebst mein Herz!
- Cavata: Es häufet und vermehret sich
- Recitativo: Ach! Alle Hoffnung ist verloren
- Coro: Schwingt die Fackeln, ihr Brüder!
- Recitativo: Oh fliehe, Königin!
- Aria: In Flammen stürzt zertrümmert hin
- Recitativo: Ergib dich, Königin!
- Recitativo: Die Flammen nähern sich
- Cavata: Du lästerst die Götter
- Recitativo: Ach! Was sagt ich Unglückselige
- Cavata: Flieh ich? Wohin?
- Recitativo: Ist so viel Feigheit denn in meinem Herzen?
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Contents
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Composer
Ignaz Holzbauer
| 1711-1783Ignaz Holzbauer, born in Vienna in 1711, began his musical career as a self-taught musician. After traveling to Italy and spending years as music director at the Burgtheater in Vienna alongside renowned figures such as Galuppi and Gluck, he moved to Stuttgart in 1751 to serve as chief conductor, where he enjoyed great success with his stage works. Shortly thereafter, he was appointed Kapellmeister of the legendary Mannheim Court Orchestra, a position he held until his death on April 7, 1783. His innovative symphonic church style is based on a deep understanding of contemporary musical trends, combined with a love of experimentation and a distinct talent for dramatic music. Mozart, too, appreciated this “fine church style” and “fine arrangement of the vocal parts.” Holzbauer shaped the “Mannheim style” and, with it, an entire generation of composers and musicians. Personal details
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Songwriter / Librettist
Anton Klein
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Preface writer
Bärbel Pelker
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Choir
Kammerchor Stuttgart
The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
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Orchestra
Barockorchester Stuttgart
The Barockorchester Stuttgart, which was founded by Bernius in 1985, specializes in 18th century music. The musicians are among the leading representatives of historical performance practice and perform exclusively on original instruments. The ensemble dedicates itself to a large extent to the revival of 18th century operas. It has performed at numerous international festivals, among others in Rome, Dresden and Göttingen. Personal details
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Conductor
Frieder Bernius
| 1947Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
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Soloist - soprano
Sandrine Piau
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Soloist - alto
Carmen Fuggiss
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Soloist - tenor
Markus Schäfer
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Soloist - baritone
Thomas Mohr
Reviews
Samuel Scheidt: Cantiones Sacrae
... The Stuttgart Baroque Orchestra makes pungent sounds and remains consistently in tune. ... Holzbauer would surely be pleased to know that his important and imaginative oneact German serious opera is now available for all the world to hear and study.
Locke, American Record Guide, January/February 2019
On apprécie sa concision, et on salue l’interprétation, la puissance de Thomas Mohr et les vocalises de Carmen Fuggiss, sans oublier San-drine Piau. Une découverte inatten-due et fort intéressante.
Marc Vignal, Classica, Februar 2019
Frieder Berniusconduit l’action avec un mélangede feu et de finesse très réactif aux enjeux de l’écriture.
Jean-Philippe Grosperrin, Diapason, November 2018
Am Pult des Barockorchesters Stuttgart lässt es Frieder Bernius mit viel hörbarer Leidenschaft und Stilkenntnis funkeln.
Benjamin Künzel, klassik.com, 30.10.2018
Orkesteret spelar flott, og den franske sopranen Sandrine Piau er god som Dido.
Dag og Tid, 28.09.2018
Mit dem Barockorchester sorgt Frieder Bernius ... für Klarheit und packende dramatische Akzente ... mit so feiner, sicherer Hand, dass ein konzentriertes Zuhören unbedingt lohnt.
Stuttgarter Zeitung, 19.06.2018
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