Giovanni Felice Sances News
Italian singer and composer
- tenor
- opera
- Italy
- composer, opera singer
Last update
2024-03-28
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2019-03-01 12:35:14
Dame Emma Kirkby's 70th birthday concert at the Wigmore Hall
[…] viols), the Fieri Consort (Hannah Ely soprano, Nancy Cole & Helen Charlston mezzo-soprano, Paul Bentley & Josh Cooter tenor, Ben McKee bass), Jakob Lindberg (chitarrone), Miriam Allan (soprano), Steven Devine (harpsichord) and Charles Medlam (viola da gamba), in a programme of lute songs, consort songs, madrigals and more, which moved from John Dowland and John Danyel, through William Byrd, Michael East and Orlando Gibbons, to Luca Marenzio, Giovanni Kapsberg, Sigismondo d'India, Antonio Cifra, and Giovanni Felice Sances, to John Jenkins, William Lawes, John Blow, and Henry Purcell. It was a long programme, but an engaging one and very much devoted to music making which was communal and often quite intimate, with Dame Emma taking her place alongside younger colleagues to create a very collegial atmosphere.We opened with Dowland and Danyel, the members of Dowland Works sat and stood around a table on which the music lay, a rather arch […]
The Boston Musical Intelligencer
2015-06-10 23:30:51
A Very Polished Concerto Soave
[…] Peri’s quiet, austere simplicity and the more sonorous harpsichord piece—even if the latter alludes to Monteverdi’s famous Lament of the Nymph. One wished instead for silence after the long monologue by Peri, which, accompanied only by harp, was perhaps the most touching of the afternoon’s performances. The longest and, in principle, the most dramatic selection on the program was a work new to me and, I imagine, most listeners: the cantata Proserpina gelosa by Giovanni Felice Sances. Here the composer—a Roman, despite his Spanish name (Sanchez)—sets a text full of vivid fulminations against Persephone’s unloved husband Pluto. These were accompanied by noisy rumblings from all three continuo players, especially harpsichordist Aymes. Yet the performance was oddly unaffecting. I suspect this was due to the over-reliance on the sort of continuo “orchestration” that is fashionable today: elaborate, busy realizations of the sketchily notated accompaniments, which here, as in most of the […]
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