al Monte

Bellini’s penultimate opera was received unenthusiastically at its premiere in 1833, and has never attained the popularity of Norma. Early this century it disappeared completely until revived in 1935, as part of the centennial commemoration of the composer’s death. In recent years, its tragic heroine, the wife of a Milanese duke, falsely accused of infidelity and executed at her husband’s command, has been portrayed by such notable bel canto specialists as Joan Sutherland, Leyla Gencer and June Anderson. This dramatically vigorous and well-constructed work contains some of Bellini’s finest and most characteristic melodies, among them a ravishingly beautiful trio, ‘Angiol di pace’. Its neglect for so many years is difficult to comprehend.

Al Ayre Español is a vocal and instrumental ensemble formed in 1988 by the conductor Eduardo López Banzo. The ensemble plays period instruments and has brought back to life Spanish Baroque Music music, renewing the interest of contemporary audiences. The name of the band ('ayre' is an ancient word for 'aire') makes reference to playing music 'the Spanish way' ('con aire español').

Ermione is one of Rossini's greatest operas. The libretto by Andrea Tottola based on the tragedy by Racine, Andromaque, is one of the richest Rossini ever set, for Tottola in boiling down Racine retained the essence of the play without producing the silliness which so often characterizes bel canto librettos. Possibly, it was the atrength of the libretto that inspired Rossini to write his most profound and innovative opera. He is uncompromising on his demands on the singers. The opera also makes huge demands on the producer since there are major roles for at least three first-class tenors as well as extremely demanding music for a soprano, a contralto or mezzo soprano and a bass. The orchestral and chorus demands are also very high.

The year 2021 will mark the 500th anniversary of the birth of Philippe de Monte. This Flemish Renaissance master was one of the greatest composers of his generation. He held the prestigious position of Hofkapellmeister to the Imperial Court for thirty-five years, first in Vienna and then in Prague. He composed more music than any other composer during the second half of the sixteenth century, producing close to eight hundred works; these included secular and sacred madrigals; forty chansons, forty masses, two hundred and fifty motets, and a handful of other sacred works.