Most people who have read about Handel’s life know about his friendship with Scarlatti junior (as reported by Mainwearing) and also about the competition they are said to have had. When I started my play about Händel/Hendel/Handel (and Balatri) – see https://baroque35.wordpress.com/2016/08/20/play-about-handel-and-balatri/ – I have also included the following dialogue, which is a work in […]Read more "G.F. Händel e Domenico Scarlatti"
Margherita Durastanti: List of major vocal works (operas, serenades and oratorios) Part II 1720 – 1734 © Anita Sikora Following Durastanti’s operas in Italy and Dresden (https://baroque35.wordpress.com/2016/07/24/performances-by-la-durastante/) here is the list of her London years. The gap year 1720/1721 was obviously a spontaneous decision taken in Munich, Bavaria, when Durastanti was about to travel to […]Read more "Performances by La Durastante II"
Di madre l’amor 18th century motherhood, childhood and the artistic collaboration of G. F. Handel and singer Margherita Durastanti In her in-depth and impressive study of the operas of George Frideric Handel, Silke Leopold dedicates his mothers on stage a whole sub chapter and analyses his only aria in which a mother expresses feelings of […]Read more "Di madre l’amor"
© Anita Sikora Die wie folgt vorgestellte Handlung basiert auf Tatsachen (Zeiten und Orte), enthält aber natürlich überwiegend fiktionale Elemente, die aber plausibel erscheinen. Amalie Eberlin, Tochter des Komponisten Daniel Eberlin, war Hofdame/Kammerjungfer der Anna Maria von Sachsen-Weißenfels, und es ist wahrscheinlich, aber (noch) nicht erwiesen, dass sie diese Rolle schon um die Zeit um […]Read more "Konzept zum Film „Amalie“"
She is the mythical lady singer in John Mainwearing’s biography of George Frideric Handel (1760). However, she is not one lady, but two, as I show in my essay “The Deconstruction of a Myth” (you can access it here: https://baroque35.wordpress.com/2016/04/26/the-deconstruction-of-a-myth/). Much has been speculated about that Vittoria, who many associate with Vittoria Tarquini, called La […]Read more "Signora Vittoria"
She entered my life about 10 years ago, by stepping out of the first play by a women that made it on stage: in Aphra Behn’s play “The Rover” (1677) the heroine Helena, a young lady from Naples, disguised as a gypsy, has a very witty discussion with the English seafarer, Willmore, the Rover. When […]Read more "Jephtha’s daughter…"
Here comes the beginning of a play that I am currently writing; it is based on and inspired by an incident described by singer Filippo Balatri in his yet unpublished work “Vita e viaggio” (see: http://www.christine-wunnicke.com/balatri.html) This is still a draft and subject to change!! I am currently working on Day II. A big thank […]Read more "Play about Handel and Balatri"
Aphra Behn (1640?-1689) was a 17th-century writer who challenged expectations of women at the time by writing plays, poetry and novels for profit. Her most famous texts include The Rover, Oroonoko, and The Fair Jilt. Some of her writing was notorious for its sexual themes, but she also got into trouble for writing about politics, a…Read more "Aphra Behn"
Margherita Durastante: List of major vocal works (operas, serenades and oratorios) Part I 1700 – 1719 Anita Sikora This is a list of all operas, in which Durastante is referred to by name in the cast list or in which she performed, because she was member of a troupe at a particular place (such […]Read more "Performances by La Durastante I"
Originally posted on Andrew Lawrence-King:
These representations in music, a spectacle truly of princes and moreover most pleasing to all, as that in which is united every noble delight, such as the invention and disposition of the tale; sententiousness, style, sweetness of rhyme; art of music, concertos of voices and instruments, exquisiteness of song; grace of dance…