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Matinee Christoph and Julian Prégardien


  • 24 May 2015, 11:00


CLAUDIO MONTEVERDI Tempro la cetra from the 7th madrigal book

CLAUDIO MONTEVERDI Dormo ancora o son desto? from Il ritorno d’Ulisse in Patria

CLAUDIO MONTEVERDI Cara lieta Gioventu from Il ritorno d’Ulisse in Patria

CLAUDIO MONTEVERDI Oh padre sospirato! from Il ritorno d’Ulisse in Patria

CLAUDIO MONTEVERDI Lieto cammino from Il ritorno d’Ulisse in Patria

CLAUDIO MONTEVERDI Possente spirto from L’Orfeo

CLAUDIO MONTEVERDI Saliam cantando al Cielo from L’Orfeo

FRANZ SCHUBERT An die Leier, Op. 56 No. 2, D. 737 – poem by Franz Seraph Ritter von Bruchmann after Anacreon

FRANZ SCHUBERT Fahrt zum Hades, D. 526 – poem by Johann Baptiste Mayrhofer

FRANZ SCHUBERT Der zürnenden Diana, D. 707

FRANZ SCHUBERT Gruppe aus dem Tartarus, D. 583

FRANZ SCHUBERT Ganymed, Op. 19 No. 3, D. 544 – poem by Johann Wolfgang von Goethe

FRANZ SCHUBERT An Schwager Kronos, D. 369

FRANZ SCHUBERT Die Götter Griechenlands, D. 677 – poem by Friedrich Schiller

FRANZ SCHUBERT Freiwilliges Versinken, D. 700 – poem by Johann Mayrhofer

FRANZ SCHUBERT Lied eines Schiffers an die Dioskuren op. 65/1, D. 360

FRANZ SCHUBERT Erlkönig, Op. 1, D. 328 – poem by Johann Wolfgang von Goethe

Print programme (PDF)


Christoph Prégardien, Tenor
Julian Prégardien, Tenor
Catriona Morison*, Mezzo-soprano
Jos van Immerseel, Harpsichord/fortepiano
Musicians of Anima Eterna Brugge

*Member of the Young Singers Project


In the world of the gods, father-son relationships – such as Uranus and Cronus, or Cronus and Zeus – were in some cases by no means unproblematic. One positive exception is Apollo, who not only gave his son Orpheus the famous lyre with which, despite Charon’s opposition, he gained access to the Underworld, but also stayed by Orpheus’s side when he lost his Eurydice for the second time. This, at least, is how Claudio Monteverdi describes it in the first opera in musical history. Apollo manages to convince Orpheus that true happiness can only be achieved in immortality, and the two of them – singing highly virtuoso coloraturas – soar to the heavens, where Orpheus’s lyre is also transformed into a constellation.
Odysseus has erred throughout the world for 20 years, a plaything of the gods and at the mercy of their internal disagreements. When he returns, he can rejoice not only in the unalloyed fidelity and solidarity of his wife Penelope, but also of his son Telemachus, with whose help he defeats all his opponents.
While Monteverdi, in 1607, had his audience experience Orpheus begging to be allowed to enter the realm of the dead, just over 200 years later, Franz Schubert describes how we should imagine the journey to Hades. His lesser-known songs on mythical themes set to texts by Goethe, Schiller or his friend Mayrhofer, contain dramatic descriptions, including that of Zeus’s pursuit of Ganymede, the beautiful Trojan prince, or of Actaeon, the hunter, spying on Diana as she bathes.