Sarah Wegener & Ensemble il capriccio · Arias & Cantatas

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Sarah Wegener & Ensemble il capriccio:
Arias & Cantatas

Sarah Wegener (Soprano) and the ensemble il capriccio
performs according to the traditions of the time:

George Frideric Handel ~ Gloria (Cantata) · Overture (Rinaldo) · Furie terribili · Lascia ch'io pianga · Se pietà di me non senti · Da tempeste · Farewell ye limpid springs · Eternal source of light divine
Henry Purcell ~ When I am laid · O let me weep · Fantasy upon a Ground
Giovanni Battista Ferrandini ~ Se d'un Dio · Scottish Traditional ~ Auld Lang Syne et.al.
Concert Master: Friedemann Wezel

A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · c. 76 Minutes

Previews

Work(s) & Performance


Performer(s)

S

arah Wegener enthrals listeners with the richness and warmth of her voice and approaches every role in a chamber musical way. She regularly works with Kent Nagano, Philippe Herreweghe, Thomas Hengelbrock, Heinz Holliger, Michael Hofstetter and Frieder Bernius. Concerts have taken her to the Schleswig-Holstein Musik Festival, Rheingau Music Festival, Konzerthaus Berlin, Tonhalle Zürich, Wiener Konzerthaus, Concertgebouw Amsterdam, Casa da Música Porto and to the Bozar Brussels. The British-German soprano studied singing with Prof. Jaeger-Böhm in Stuttgart and took part in masterclasses with Dame Gwyneth Jones and Renée Morloc. She has formed a close artistic relationship with the composer Georg Friedrich Haas. She was nominated for 'Singer of the Year' by Opernwelt magazine in 2011 for her interpretation of the main role of Nadja in his opera Bluthaus, which she performed at the Schwetzinger SWR Festival, Wiener Festwochen and Staatstheater Saarbrücken. In the 2015/16 season she made her debuts at the Royal Opera House London and Deutsche Oper Berlin in his new opera Morgen und Abend. In 2014 she was also highly praised for the world premiere of Jörg Widmann's Labyrinth III at the Kölner Philharmonie with the WDR Symphony Orchestra under Emilio Pomàrico. Her repertoire includes Handel's Messiah, Mozart's Mass in C minor, Schumann's Faust Scenes, Dvorak's Stabat Mater and Strauss' Four Last Songs. Furthermore, she enjoys frequent performances with the Deutsche Kammerphilharmonie Bremen, Kristiansand Symphony Orchestra, Orchestre des Champs-Élysées/Collegium Vocale Gent, NDR Symphony Orchestra, Orchestre Symphonique de Montréal, Philharmonisches Staatsorchester Hamburg, Kammerorchester Basel and Radio Filharmonisch Orkest. Her discography comprises recordings with Frieder Bernius of arias by Justin Heinrich Knecht (Carus), Korngold's Die stumme Serenade (CPO) and Schubert's Lazarus (Carus), as well as Rossini's Petite Messe solennelle under Tonu Kaljuste (Carus), a CD with the Stuttgart Radio Symphony Orchestra under Heinz Holliger (Hänssler Classic) and a release of Handel's Israel in Egypt with the Maulbronn Chamber Choir under Jürgen Budday (K&K Verlagsanstalt).

www.sarah-wegener.com

F

ounded in 1999, the ensemble il capriccio evolved into a personally, stylistically and musically very individual ensemble. Its members, meeting up from all over middle Europe for mutual working sessions are outstanding musicians of international ensembles and professional orchestras or teachers at a conservatory. All musicians of Il Capriccio have intensively occupied themselves since their studies with historically informed performance. The usage of original instruments only constitutes the sounding foundation for an extremely meaningful and vivid way of musical interacting on stage. Il Capriccio gives concerts in variable instrumentation from the size of a baroque orchestra to the classical string quartet consisting of the principals of the ensemble. The solo part for violin plays the art director Friedemann Wezel. Additionally, Il Capriccio cooperates with important artists such as Sergio Azzolini (bassoon) or Markus Brönnimann (flute). A further and exceptional obligation considering the educational support of young artists was accepted by the 2004 founding of the "Il Capriccio Strings Academy".

www.ilcapriccio.de

Concert Image: Sarah Wegener and Ensemble il capriccio

Ensemble il capriccio

Violin & Concertmaster: Friedemann Wezel
Violin I: Marieke Bouche, Steffen Hamm, Christine Trinks
Violin II: Dietlind Mayer, Smadar Schidlowsky, Konstanze Winkelmann
Viola: David Dieterle, Johannes Platz · Cello: Juris Teichmanis, Judith Wagner
Double Bass: Kit Scotney · Harpsichord: Evelyn Laib · Lute: Toshinori Ozaki

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Lyrics

2. Furie terribili
Aria of Armida from "Rinaldo", HWV 7a
by George Frideric Handel (1685-1759)
Libretto by Giacomo Rossi after "La Gerusalemme liberata" by Torquato Tasso (1544-1595)

Furie terribili
Circondatemi,
Seguitatemi,
Con faci oribili.

Schreckliche Furien,
Folgt mir,
Umgebt mich
Mit furchterregenden Fackeln.



3. Auld Lang Syne
Anonymous
Scottish folk song after the poem by Robert Burns (1759-1796)

Should auld acquaintance be forgot
And never brought to mind?
Should auld acquaintance be forgot,
and days of auld lang syne?
For auld lang syne, my dear
For auld lang syne
We'll take a cup o'kindness yet
For auld lang syne.
And surely ye'll be your pint-stowp
And surely I'll be mine
And we'll tak a cup o'kindness yet
For auld lang syne.
We twa hae rin aboot the braes,
and pu'd the gowans fine
But we've wander'd mony a weary fit,
sin' auld lang syne.
We twa hae paidl'd i'the burn,
frae morning sun till dine
But seas between us braid hae roar'd,
sin' auld lang syne.
And there's a hand, my trusty fiere
And gie's a hand o'thine
And we'll tak a right gude willie-waught
for auld lang syne.

Sollte alte Vertrautheit vergessen sein
Und ihrer nicht mehr gedacht werden?
Sollte alte Vertrautheit vergessen sein,
und auch die guten alten Zeiten?
Refrain:
Der alten Zeiten wegen, mein Lieber,
Der alten Zeiten wegen,
Lass uns zueinander recht freundlich sein,
Der alten Zeiten wegen.
Und gewiss nimmst Du Deinen Maßkrug zur Brust,
Und gewiss nehm ich den meinen,
Und lass uns zueinander recht freundlich sein,
Der alten Zeiten wegen.
Wir beide sind über die Hügel gelaufen
Und pflückten herrliche Gänseblümchen,
Doch wanderten wir manch müden Schritt
Seit diesen alten Tagen.
Wir beide haben im Fluss gepaddelt
Vom Morgen bis zum Abendrot
Doch haben seither weite Meere zwischen uns getost,
seit diesen alten Tagen.
Und hier ist meine Hand, mein treuer Freund,
Und schlag ein mit der Deinen!
Und dann lass uns einen ordentlichen Schluck nehmen
Der alten Zeiten wegen.



4. Lascia ch'io pianga
Aria of Almirena from "Rinaldo", HWV 7a
by George Frideric Handel (1685-1759)

Lascia ch'io pianga
mia cruda sorte,
e che sospiri
la libertà.
Il duolo infranga
queste ritorte
de' miei martiri
sol per pietà.

Laß mich mit Tränen
mein Los beklagen,
Ketten zu tragen
welch hartes Geschick!
Ach, nur im Tode
find' ich Erbarmen,
er gibt mir Armen
die Ruh' zurück.



5. ma-am (My Heart)
for solo voice by Younghi Pagh-Paan
Lyrics after a poem by Chung-Chul (1537-1594, poet, statesman)
Originally old-Korean, translated by Younghi Pagh-Paan

Mein Herz / ausschneiden - herausnehmen
der Mond / formen - wollen
neunzigtausend - Li (weit entfernt) / unendlich tiefer Himmel
aufrichtig (mit vollem Glanz) / hängend - sein
mein Liebster / sein Sein - Ort - hingehen
scheinen (strahlen) / wollen



6. When I am laid (Dido's Lament)
Aria of Dido from "Dido and Aeneas", Z. 626
by Henry Purcell (1659-1695)
Libretto by Nahum Tate (1652-1715)

When I am laid in earth,
May my wrongs create
No trouble in thy breast.
Remember me, but ah!
forget my fate.

Wenn ich in der Erde liege,
Mögen meine Verfehlungen
Dich nicht bekümmern.
Denk an mich! Doch ach!
Vergiss mein Los.



8. Farewell ye limpid springs
Aria of Iphis from "Jephtha", HWV 70
by George Frideric Handel (1685-1759)
Libretto by Thomas Morell (1703-1784)

Farewell, ye limpid springs and floods,
Ye flow‘ry meads and leafy woods;
Farewell, thou busy world where reign
Short hours of joy and years of pain.
Brighter scenes I seek above
In the realms of peace and love.

Lebt wohl, ihr reinen Quellen und Bäche,
ihr blumigen Wiesen und belaubten Wälder,
leb wohl, du geschäftige Welt, wo kurze Stunden
der Freude und Jahre des Kummers herrschen.
Schönere Welten such ich droben
im Reich des Friedens und der Liebe.



9. Se d'un Dio (Vocal Version)
from the cantata "Il pianto di Maria"
by Giovanni Battista Ferrandini (1710-1791)
So far ascribed to George Frideric Handel as HWV 234

Se d’un Dio fui fatta Madre
Per vedere un Dio morire
Mi perdona Eterno Padre
La tua grazia è un gran martire.

Wenn ich eines Gottes Mutter wurde
um einen Gott sterben zu sehen,
verzeih mir ewiger Vater,
so ist deine Gnade ein großes Leid.

10. Se pietà di me non senti
Aria of Cleopatra from "Giulio Cesare in Egitto", HWV 17
by George Frideric Handel (1685-1759)
Libretto by Nicola Francesco Haym (1678-1729)

Se pietà di me non senti
Giusto Ciel, io morirò.
Tu da’ pace a miei tormenti,
O quest’alma spirerò.

Wenn du keine Gnade für mich empfindest,
Gerechter Himmel, werde ich sterben.
Befreie mich von meinen Qualen,
Oder ich werde meine Seele verhauchen.



11. Da tempeste
Aria of Cleopatra from "Giulio Cesare in Egitto", HWV 17
by George Frideric Handel (1685-1759)
Libretto by Nicola Francesco Haym (1678-1729) after Giacomo Francesco Bussani (1673-1680)

Da tempeste il legno infranto,
se poi salvo giunge in porto,
non sa più che desiar.
Così il cor tra pene e pianto,
or che trova il suo conforto,
torna l'anima a bear.

Wenn das zerbrochene Schiff aus den Stürmen
Unversehrt in den Hafen gelangt
Weiß es nicht, was es sich noch wünschen soll.
So wird der Mensch, wenn er
Inmitten von Kummer und Tränen
Trost findet, wieder froh.



13. Collage ~ O let me weep · Se d'un Dio (Instrumental)
"O let me weep" (The Plaint), Juno's lament from "The Fairy-Queen", Z. 629 by Henry Purcell (1659-1695) and "Se d'un Dio" from the cantata "Il pianto di Maria" by Giovanni Battista Ferrandini (1710-1791)
Anonymous libretto after "A Midsummer Night's Dream" by William Shakespeare (1564-1616)

O Let me ever, ever weep,
My Eyes no more shall welcome Sleep;
I'll hide me from the sight of Day,
And sigh, and sigh my Soul away.
He's gone, he's gone, his loss deplore;
For I shall never see him more.

Lasst mich weinen, ewig weinen,
der Schlaf kann meine Augen nicht mehr trösten.
Vor dem Tageslicht verstecke ich mich
und seufze, seufze mir die Seele aus.
Er ist dahin, dahin, beklaget ihn,
und ich, ich sehe ihn nie wieder.



14. La musique
for solo voice by Eliott Carter
Lyrics from "Les Fleurs du mal - Spleen et Idéal" by Charles Baudelaire (1821-1867)

La musique souvent me prend comme une mer !
Vers ma pâle étoile,
Sous un plafond de brume ou dans un vaste éther,
Je mets à la voile;
La poitrine en avant et les poumons gonflés
Comme de la toile
J‘escalade le dos des flots amoncelés
Que la nuit me voile ;
Je sens vibrer en moi toutes les passions
D‘un vaisseau qui souffre;
Le bon vent, la tempête et ses convulsions.
Sur l‘immense gouffre
Me bercent. D‘autres fois, calme plat,
Grand miroir de mon désespoir !

Oft trägt mich die Musik, dem Meere gleich.
Zu meinem bleichen Stern,
Durch Nebelrauch, durch Lüfte klar und weich
Ich segle fern.
Das Antlitz aufwärts und die Brust voran,
Die Lunge kraftgefüllt,
So stürm‘ ich kühn den Wogenberg hinan,
Den mir die Nacht verhüllt.
Und fühle alle Leiden mich erbittern,
Die je ein Schiff erlitt,
Den leisen Wind, den Sturm, sein krampfhaft Zittern.
Den Abgrund fühl‘ ich mit.
Doch manchmal ist der Spiegel flach und weit,
Der Spiegel meiner Hoffnungslosigkeit.

Übersetzung: Therese Robinson (1797-1870)



15. - 20. Gloria, HWV deest
Cantata for soprano solo, 2 violins and basso continuo
by George Frideric Handel (1685-1759)

I. Gloria in excelsis Deo.
II. Et in terra pax hominibus bonae voluntatis.
III. Laudamus te. Benedicimus te.
Adoramus te. Glorificamus te.
Gratias agimus tibi
propter magnam gloriam tuam.
IV. Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite, Iesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
V. Qui tollis peccata mundi, miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
VI. Quoniam tu solus Sanctus.
Tu solus Dominus.
Tu solus Altissimus, Iesu Christe.
Con Sancto Spiritu, in gloria Dei Patris.
Amen.

I. Ehre sei Gott in der Höhe
II. Und Friede auf Erden und den Menschen ein Wohlgefallen!
III. Wir loben dich, wir benedeien dich,
wir beten dich an, wir preisen dich,
wir sagen dir Dank
um deiner großen Herrlichkeit willen.
IV. Herr Gott! Himmlischer König!
Allmächtiger Vater!
Herr, du eingeborner Sohn, Jesu Christe!
Herr, Gott, du Lamm Gottes, Sohn des Vaters!
V. Der du die Sünde der Welt trägst, erbarme dich unser!
Der du die Sünde der Welt trägst,
nimm an unser Gebet.
Der du sitzest zur Rechten des Vaters, erbarme dich unser!
VI. Denn du allein bist heilig,
denn du allein bist der Herr,
du allein bist der Allerhöchste, Jesus Christus,
mit dem Heiligen Geiste in der Herrlichkeit Gottes, des Vaters.
Amen!



22. Eternal source of light divine
Aria from "Ode for the Birthday of Queen Anne", HWV 74
by George Frideric Handel (1685-1759)
Libretto by Ambrose Philips (1674-1749)

Eternal source of light divine
With double warmth thy beams display
And with distinguish'd glory shine
To add a lustre to this day.

Ewiger Quell göttlichen Lichts
Sende deine Strahlen aus mit doppelter Wärme
Und scheine mit prangender Herrlichkeit,
um diesem Tag Glanz zu verleihen.

Works, Movements & Tracklist

1. Overture from "Rinaldo", HWV 7a [5:43]
by George Frideric Handel (1685-1759)

2. Furie terribili [1:49]
Aria of Armida from "Rinaldo", HWV 7a
by George Frideric Handel (1685-1759)
Lyrics by Giacomo Rossi after "La Gerusalemme liberata" by Torquato Tasso (1544-1595)

3. Auld Lang Syne [0:58]
Anonymous, Scottish folk song after the poem by Robert Burns (1759-1796)

4. Lascia ch'io pianga [4:12]
Aria of Almirena from "Rinaldo", HWV 7a
by George Frideric Handel (1685-1759)
Lyrics by Giacomo Rossi after "La Gerusalemme liberata" by Torquato Tasso (1544-1595)

5. ma-am (My Heart) [3:54]
for solo voice by Younghi Pagh-Paan
Lyrics after a poem by Chung-Chul (1537-1594, poet, statesman)
Originally old-Korean, translated by Younghi Pagh-Paan

6. When I am laid (Dido's Lament) [3:05]
Aria of Dido from "Dido and Aeneas", Z. 626
by Henry Purcell (1659-1695)
Lyrics by Nahum Tate (1652-1715)

7. Se d'un Dio (Instrumental Version) [0:45]
from the cantata "Il pianto di Maria"
by Giovanni Battista Ferrandini (1710-1791)
So far ascribed to George Frideric Handel as HWV 234

8. Farewell ye limpid springs [5:15]
Aria of Iphis from "Jephtha", HWV 70
by George Frideric Handel (1685-1759)
Lyrics by Thomas Morell (1703-1784)

9. Se d'un Dio (Vocal Version) [0:55]
from the cantata "Il pianto di Maria"
by Giovanni Battista Ferrandini (1710-1791)
So far ascribed to George Frideric Handel as HWV 234

10. Se pietà di me non senti [9:01]
Aria of Cleopatra from "Giulio Cesare in Egitto", HWV 17
by George Frideric Handel (1685-1759)
Lyrics by Nicola Francesco Haym (1678-1729)

11. Da tempeste [5:36]
Aria of Cleopatra from "Giulio Cesare in Egitto", HWV 17
by George Frideric Handel (1685-1759)
Libretto by Nicola Francesco Haym (1678-1729) after Giacomo Francesco Bussani (1673-1680)

12. Fantasy upon a Ground, Z. 731 [4:47]
by Henry Purcell (1659-1695)

13. Collage ~ O let me weep · Se d'un Dio (Instrumental) [6:59]
"O let me weep" (The Plaint), Juno's lament from "The Fairy-Queen", Z. 629 by Henry Purcell (1659-1695) and "Se d'un Dio" from the cantata "Il pianto di Maria" by Giovanni Battista Ferrandini (1710-1791)
Anonymous lyrics after "A Midsummer Night's Dream" by William Shakespeare (1564-1616)

14. La musique [3:01]
for solo voice by Eliott Carter
Lyrics from "Les Fleurs du mal - Spleen et Idéal" by Charles Baudelaire (1821-1867)

15. - 20. Gloria, HWV deest [15:22]
Cantata for soprano solo, 2 violins and basso continuo
by George Frideric Handel (1685-1759)
15. I.: Gloria in excelsis Deo [2:17]
16. II.: Et in terra pax [2:35]
17. III.: Laudamus te [2:10]
18. IV.: Domine Deus, Rex coelestis [1:16]
19. V.: Qui tollis peccata mundi [3:43]
20. VI.: Quoniam tu solus sanctus [3:22]

21. Applause [0:38]

22. Eternal source of light divine (Concert Addition) [3:39]
Aria from "Ode for the Birthday of Queen Anne", HWV 74
by George Frideric Handel (1685-1759)
Lyrics by Ambrose Philips (1674-1749)

23. Applause [0:46]


Recorded to 'Direct 2-Track Stereo Digital HD' in a concert at the church of the German UNESCO World Heritage Site Maulbronn Monastery, recorded, released and created by Andreas Otto Grimminger & Josef-Stefan Kindler in cooperation with Sebastian Eberhardt, Klosterkonzerte Maulbronn ('Maulbronn Monastery Concerts').

Concert Date:
May 16, 2015

Sound & Recording Engineer:
Andreas Otto Grimminger

Mastering & Production:
Andreas Otto Grimminger & Josef-Stefan Kindler

Photography, Artwork & Coverdesign:
Josef-Stefan Kindler

Review

A rich and warm voice in a splendidly recorded and produced release

Sarah Wegener enthralls listeners with the richness and warmth of her voice and approaches every role in a chamber musical way. She regularly works with Kent Nagano, Philippe Herreweghe, Thomas Hengelbrock, Heinz Holliger, Michael Hofstetter and Frieder Bernius. She studied with Professor Jaeger-Bohm in Stuttgart and took part in master classes with Dame Gwyneth Jones and Renee Morloc.
Here, Sarah performs with the Ensemble Il Capriccio arias and cantatas from the baroque era, thematically enhanced with modern compositions. The release documents a concert at the church of the German UNESCO World Heritage Site Maulbronn Monastery in Germany 2015, splendidly recorded and produced by Andreas Otto Grimminger and Josef-Stefan Kindler for their series "Maulbronn Monastery Edition".

Presto Classical, November 2016

A rich & warm voice in a splendidly recorded & produced release

ReviewSarah Wegener enthralls listeners with the richness and warmth of her voice and approaches every role in a chamber musical way. She regularly works with Kent Nagano, Philippe Herreweghe, Thomas Hengelbrock, Heinz Holliger, Michael Hofstetter and Frieder Bernius. She studied with Professor Jaeger-Bohm in Stuttgart and took part in master classes with Dame Gwyneth Jones and Renee Morloc.
Here, Sarah performs with the Ensemble Il Capriccio arias and cantatas from the baroque era, thematically enhanced with modern compositions. The release documents a concert at the church of the German UNESCO World Heritage Site Maulbronn Monastery in Germany 2015, splendidly recorded and produced by Andreas Otto Grimminger and Josef-Stefan Kindler for their series "Maulbronn Monastery Edition".
Presto Classical, November 2016

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