Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Gia ché morir non posso | George Frideric Handel (1685 - 1759) |
| Kristin Astouroghlian, Voice | |
| Rhodri Clarke, piano | |
| Known as Zenobia's aria from the opera "Radamisto". The happily married couple- Zenobia and Radamisto face the growing charm and attraction of the Armenian king- Tiridate towards Zenobia. Escaping from Tiridate's cruelty, Zenobia asks her husband to kill her and throw her body in the river in hope of saving her husband and her dignity. Zenobia doesn't die and is rescued by the guards. Furious from the King, she asks the furies of hell to help, console her sorrow and anger towards Tiridate, the King of Armenia. | |
| Dopo l\'oscuro nembo | Vincenzo Bellini (1801 - 1835) |
| Kristin Astouroghlian, Voice | |
| Rhodri Clarke, piano | |
| Famous as Nelly's Romance from "Adelson e Salvini". The opera was Bellini's graduation project. Bellini later created Giulietta's aria in "I Capuleti e i Montecchi" based on this piece. Nelly, an orphan, is loved by two close friends. She sings about her hope to find relief in her lover's arms, when instead her request remains as it is- a lost paper in her book of dreams and hopes. | |
| Nacqui all\'affanno (Cenerentola\'s Finale) | Gioachino Rossini (1792 - 1868) |
| Kristin Astouroghlian, Voice | |
| Rhodri Clarke, piano | |
| Cenerentola's Finale from the opera "La Cenerentola", a story very famous to all. Upon the singer's request and persistence, Rossini borrowed the music of another tenor aria from 'Il barbiere di Siviglia' named "Cessa di piu resistere" (composed for Manuel Garcia). The aria being an elaborate and challenging piece dominates a very valuable position as the grand finale of the opera. | |
| Keyboard Sonata in F minor, K.466 | Domenico Scarlatti (1685 - 1757) |
| Devina Christi Soeryawinata, piano | |
| An excerpt from Scarlatti's 555 keyboard sonatas which possesses a binary form and a unique portrayal of movement that can be heard through complex harmony and modulation to remote keys. | |
| Aftershock: A Response to 9/11 | Eric Ewazen (1954 - ) |
| James O\'Hehir, Trumpet | |
| Aftershock was written in tribute of remembrance of the lives lost on 9/11 by New York-based composer Eric Ewazen who was in New York teaching music at the Juilliard School of Music at the time of the attacks. \r\n\r\nIn this unaccompanied work, Ewazen uses eery silences as well as dramatic use of dynamics and crescendos to create a strong sense of chaotic intensity. The unpredictable back and fourth between sudden settling of the music after an aggressive building line and then back to moments of quiet resemble the overwhelming experience of the fateful day. \r\n | |