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  • Kati Debretzenidirector/violin
  • Matthew Rosebaritone
  • Telemann: Overture Burlesque in B flat
  • Vivaldi: Aria Se il cor guerriero from Tito Manlio
  • Vivaldi: Aria Gelido in ogni vena from Il Farnace
  • Telemann:Kanarienvogel Kantate
  • Vivaldi:The Four Seasons
  • Date:
    Wednesday 6 Feb 2013
  • Time:
    7:30 PM

'The OAE's Vivaldi performances are astonishingly vivid, led with infectious enthisiasm.' The Guardian

Despite Vivaldi's brilliantly inventive Four Seasons being so well-known, the Orchestra of the Age of Enlightenment's performances are guaranteed to be sparklingly fresh! And Vivaldi's operas also contain much gorgeous music as these two lovely arias reveal. Equally prolific, Telemann wrote many orchestral suites full of character and imaginative orchestration. With dances, fugues, musical portraits, and evocations of colourful scenes and characters, this highly attractive music deserves to be as popular as Bach's orchestral suites and Handel's Water Music. He wrote much vocal music too; this well-known secular cantata laments the death of a caged canary and is perhaps not entirely free from irony! Another unmissable evening with the OAE!

'Matthew Rose is utterly compelling.' Opera Now

'Warmth, polish, energy, a terrific rhythmic drive... exuberant chamber music playing of the highest quality.' Independent on Sunday

6.30pm Free pre-concert talk


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Comments (1)

  • Alan Wheals


    At first sight this programme looked to be a bit pedestrian. There was Telemann (Mozart’s poor relation; Germanic; dull) and Vivaldi’s Four Seasons (again!) that had been performed here just 3 months earlier. However, this is the OAE and the concert was transformed by their musicianship and creative imagination.
    The Four Seasons concerti were done separately interspersed with the Telemann. The virtuoso leader (Kati Debretzeni), who also briefly introduced each concerto, gave a master class in ornamentation and phrasing that was especially telling in the slower parts. Unlike last time we had a proper basso continuo, not only with a harpsichord but also with the wonderful Elizabeth Kenny on lute or theorbo. The section principals were on top form, especially Jonathan Manson, and the OAE as a whole played with style and intensity to make everything come alive.
    Significantly, the Telemann was equally cleverly done. Most of the pieces were songs performed by soloist Matthew Rose with a voice that immediately explained his international reputation. But there were also props to liven things up: a costumed and masqued young girl wandering around the auditorium blowing bubbles to announce the imminent arrival of “Carnevale”, and later there was an empty birdcage (and one yellow feather) to announce the murder of a canary by a cat!
    I am not a devotee of the baroque but you should hear the OAE simply because they are a world class orchestra and you could not fail to be impressed.

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