American Classical Orchestra: Gesù Nato, A Christmas Oratorio
$35-$75
- Linda Tsatsanis, soprano
- Kate Maroney, mezzo-soprano
- Alex Guerrero, tenor
- Jeremy Rhizor, conductor
Antonio Gianettini — Dixit Dominus
Antonio Gianettini — Confitebor tibi Domine
Antonio Gianettini — Beatus vir
Antonio Gianettini — Laudate Pueri Dominum
Antonio Gianettini — Magnificat
Antonio Bencini — Gesú Nato
Antonio Gianettini (1648-1721) was an Italian organist, singer, and composer. In 1686, he took up the post of maestro di cappella to Francesco II, Duke of Modena, and remained in that post for much of his life, writing many sacred works for the Duke’s court. His operas and sacred music were appreciated during his lifetime in both Italy and Germany.
Gianettini's psalms are for four-part chorus, with string accompaniment. Unlike his dramatic music, the Psalms exist in published form. The 1st of five psalms performed at this concert is Deus in adjutorium—a short introductory prayer drawn from Psalm 69 that has been used since early Christian times to begin liturgical prayers, such as evening vespers.
The four psalms that follow—Dixit Dominus, Confitebor tibi Domine, Beatus vir, and Laudate Pueri Dominum—are traditionally used in the Roman Catholic rite of Sunday vespers and on major feast days, such as Christmas. Many composers have written settings of these psalms for vesper services—Handel's setting of the Dixit Dominus being a towering example among them.
By contrast, Gianettini's Magnificat—also known as the Canticle of Mary—is a prayer of praise to God found in the Gospel of Luke. It is used in the daily prayers of various Christian traditions and has often been set to music. The Magnificat—like Gianettini's dramatic works—is elaborate, with parts for chorus and instruments, solo movements, and even a vocal duet. An edition of it was made from the manuscript for this performance.
Composer Antonio Bencini (ca. 1700-1748) came from a musical family about which little is known. His father, Pietro Paolo Bencini, had several posts. He served as maestro di cappella at the Chiesa Nuova (The Roman Oratory) from 1705-1743, and thereafter, as maestro of the Cappella Giulia at St. Peter's Basilica in Rome, until his death.
Antonio is believed to have been the maestro de cappella at S. Lorenzo in Dàmaso, Rome, possibly as his father’s assistant. Cardinal Àlvaro Cienfuegos, a Caesarian ambassador to the Holy See and a coprotector of Austria, commissioned cantatas from him. In archives around Rome, about sixty of his sacred compositions have been preserved in manuscript form.
Antonio likely premiered Gesù Nato, a Christmas oratorio, in Bologna in 1742. The work—which centers on the shepherds who witnessed the Nativity—features vocal soloists, a choir, and an orchestra of trumpets, oboes, and strings. After its performance, the manuscript of Gesù Nato was shelved at the Vatican Library for three centuries before being rediscovered. By then Antonio's works (and Antonio himself) had become so obscure that they were often misidentified as his father's. For this performance we have a newly-transcribed edition of the manuscript.
About Academy of Sacred Drama
The Academy of Sacred Drama seeks to revive one of humanity's great art forms present in rituals, in liturgy, and on stage: the sacred drama. We do research and make editions and translations in order to present moving performances of theatrical musical works for our community. The Academy's work is made possible by our members, volunteers, musicians, and other performing arts professionals.
In past seasons, we presented oratorios to critical acclaim that have not been heard in around 300 years. The Academy was featured in an article in Commonweal Magazine, and our artistic decisions were declared "striking" by the New York Times. Our work was also featured in Early Music America online.
We perform without sets or costumes, and our performances tell a story through emotive gestures and subtle movement-based staging. The style of singing and instrumental music is unique and poignant. After seeing one of the Academy's performances, an audience member remarked, "Opera has never appealed to me, but I think that oratorio is my thing!"
Our area of focus is on the sacred dramas of the Baroque era—which draw upon the legendary stores of the Judeo-Christian tradition and combines them with poetic verse and classical references. Much of the genre has yet to be explored in our time.
https://sacreddrama.org/About Linda Tsatsanis, soprano
About Kate Maroney, mezzo-soprano
About Jeremy Rhizor, conductor
Jeremy Rhizor plays the baroque violin and founded the Academy of Sacred Drama, an organization inspired by Baroque academies that champions the performance and research of sacred drama. Noted for playing "virtuosically but with fluid grace" by The New York Times, Rhizor performs with early music organizations throughout North America such as Aureas Voces in Nova Scotia, Alchymy Viols in Indiana, Ensemble VIII in Texas, Mountainside Baroque in Maryland, the Washington Bach Consort in Washington, DC, and Bach Vespers and the American Classical Orchestra in New York. He was recently a guest concertmaster of the Indianapolis Baroque Orchestra and Lyra Baroque Orchestra. He is currently exploring the relationship between music and prayer and is learning about user interface design. Rhizor lives in the hamlet of Croton Falls in North Salem, NY.
https://jeremyrhizor.com/