1. Part I		1:22:54
2. Part II		54:06

Alexandra Coku – Proserpina
Johanna Stojkovic – Ceres
Silvia Weiss – Cyane
Johannes Chum – Atis
Nikolay Borchev – Pluto
Thomas Laske – Jupiter
Thomas Jakobs – Mercurius

Chorus Musicus Köln
Das Neue Orchester
Christoph Spering - conductor

Rokokotheater Schwetzingen. Sunday 30 April 2006

The Schwetzingen Festival, which has hit a few artistic and fiscal rough patches in recent years, seems to be nearing a return to form with this summer's intriguing confluence of chamber rarities, new operas and recitals by top-notch classical artists. The new production of Proserpina - a 1781 opera, written by Joseph Martin Kraus, known as "the Swedish Mozart" - featured Das Neue Orchester conducted by Christoph Spering. ---operanews.com

It was at the premiere of his opera Proserpin that Gustav III King of Sweden transformed the life and career of composer Joseph Martin Kraus. The Swedish Academy had commissioned Proserpin in June 1780 and after the work's first performance in the Royal Pleasure Palace Ulrichsthal, Gustav III spoke at length with Kraus, complimenting him lavishly on his abilities as a composer and dramaticist. On the strength of Proserpin, Gustav III made Kraus his court composer and paid for his grand tour of Europe.

Proserpin is a two-hour opera in one continuous act flowing seamlessly through ten arias, 14 choral movements, and 20 often fully scored recitatives. Based on the classical myth of life and death and the beneficence of the gods, court poet Johan Henrik Kellgren's libretto includes parts for the gods of antiquity, including Jupiter, Pluto, Ceres and Proserpin, plus a second pair of newly invented immortal lovers to set the plot in motion and a Greek chorus of nymphs, bacchantes, and Sicilians. Kellgren's plot is essentially an expansion of the myth, but with a heavy emphasis on godly beneficence. Kraus' music, scored for a lush late eighteenth century orchestra, is thoroughly Sturm und Drang in style of the time, but more lyrical, more expressive, and with an elevated sense of grandeur, plus a supreme sense of drama and balance. Although the characters themselves are more types than individuals, Kraus' music sings of timeless concerns and universal emotions. Proserpin is on a level with the best operas of Gluck and Haydn and the late operas of Mozart. ---James Leonard, allmusic.com

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1. Soliman II, or the Three Sultanas, opera: Overture 
2. Soliman II, or the Three Sultanas, opera: Act 1. No. 1.: 'Stundom du bland' 	
3. Soliman II, or the Three Sultanas, opera: Act 1: No. 2.: 'Var, älskare' 	
4. Soliman II, or the Three Sultanas, opera: Act 2: No. 3.: 'Med myrten och lager' 	
5. Soliman II, or the Three Sultanas, opera: Act 2. No. 4: 'I, som föragten Krigets fara' 	
6. Soliman II, or the Three Sultanas, opera: Act 2. No. 4a.: Instrumental Intermezzo 			play	
7. Soliman II, or the Three Sultanas, opera: Act 2. No. 5.: Elmire's Dance 	
8. Soliman II, or the Three Sultanas, opera: Act 2. No. 6.: 'Lifva med din blick' 
9. Soliman II, or the Three Sultanas, opera: Act 3. No. 7.: March of the Slaves 	
10. Soliman II, or the Three Sultanas, opera: Act 3. No. 8.: March fo the Janissaries 	
11. Soliman II, or the Three Sultanas, opera: Act 3. No. 9.: March of the Dervishes 	
12. Soliman II, or the Three Sultanas, opera: Act 3. No. 10.: March of the Sultan 	
13. Soliman II, or the Three Sultanas, opera: Act 3. No. 11.: 'Roxelane's March 
14. Soliman II, or the Three Sultanas, opera: Act 3. No. 12.: ' O Mahomet!' 	
15. Soliman II, or the Three Sultanas, opera: Act 3. No. 13.: 'O Mahomet!' 	
16. Soliman II, or the Three Sultanas, opera: Act 3. No. 14.: 'I krig vå stod' 	
17. Soliman II, or the Three Sultanas, opera: Act 3. No. 15.: 'Men bland et folk' 	
18. Soliman II, or the Three Sultanas, opera: Act 3. No. 16.: 'O Du! som vårens tekning bär' 
19. Soliman II, or the Three Sultanas, opera: Act 3. No. 17.: 'Kärlek och nöje'	Listen
20. Soliman II, or the Three Sultanas, opera: Act 3. No. 18.: 'Som, närd af et gynnande väder' 	
21. Soliman II, or the Three Sultanas, opera: Act 3. No. 19.: 'Kärlek och nöje' 	
22. Soliman II, or the Three Sultanas, opera: Act 3. No. 20.: 'Du som vår dyrkan vunnit' 		play	
23. Soliman II, or the Three Sultanas, opera: Act 3. No. 21.: The Coronation 	
24. Soliman II, or the Three Sultanas, opera: Act 3. No. 22.: La Strombettata 	
25. Soliman II, or the Three Sultanas, opera: Act 3. No. 23.: Ballet 	
26. Soliman II, or the Three Sultanas, opera: Act 3. No. 24.: Ballet 	
27. Soliman II, or the Three Sultanas, opera: Act 3. No. 25.: Ballet 	
28. Soliman II, or the Three Sultanas, opera: Act 3. No. 26.: 'Eyuvallah, eyuvallah'


Lena Hoel – Delia (Soprano),
Barbro Ortendahl-Corin – Roxelane (Soprano),
Tord Wallstrom - The Mutti (Baritone),
Bengt-Ola Morgny - A Derviche (Tenor).

Chorus an Orchestra of The Royal Opera of Sweden
Philip Brunelle, 1992

Soliman II, eller De tre Sultaninnorna, a Gustavian turkish opera in three acts, first performance 15 May, 1788

Kraus was almost an exact contemporary of Mozart, but he made a name for himself in late 18th-century Europe as a court composer, not a freelance musician. Kraus worked for King Gustavus III of Sweden, a great patron of music. In Stockholm, Kraus was known for his operas, works that relied on the reforms of Gluck as the foundation for a Swedish national opera. His music is harmonically rich and derives its propulsive rhythms from the stormy character of central European Sturm und Drang. Of his 15 surviving symphonies, the C minor is among the best-known. --- laphil.com

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1. Prologue
2. I
3. II
4. III
5. IV
6. V

Dominik Wortig, Tenor (Aeneas)
Simone Schneider, Sopran (Dido)
Daniel Ohlmann, Tenor (Jarbas)
Cornelia Horak, Sopran (Juno)
Catriona Smith, Sopran (Venus)
Klara Ek, Sopran (Clélie)
Daniel Kirch, Tenor (Jupiter/Neptun)
Joachim Goltz, Bariton (Eol/Siché/Narbal)
Olivia Vermeulen, Mezzosopran (Bercé/Iris)
RIAS Kammerchor
Lothar Zagrosek - director

Aeneus I Cartago is a lyric tragedy in five acts and a prologue by Joseph Martin Kraus. Joseph Kraus was a German composer and conductor who settled in Sweden, conducting the Stockholm Opera and earning the position of court Kapellmeister to the Swedish court. His compositional outlet is highly varied, and includes several theatrical works, among them Aeneas I Cartago. The libretto was written by Johan Kellgren. The outline of the plot was created by King Gustavus of Sweden, and based on a play by de Pompignan. Gustavus III was known for his interest and involvement in the operas produced in Sweden, especially as it concerned the promotion and production of a Swedish national theater. The story includes fantastic elements, such as the winds chained to a rock, and the ghost of Dido's dead husband appearing to warn her of her fate. Spectacular elements include a battle scene, an earthquake, a tempest, and Dido's self-immolation at the end.

The original opera was almost six hours long, and meant to commemorate the opening of the new Royal Opera house in Stockholm in 1782. The premier never took place because the prima donna precipitously left town. Over ten years later a highly abbreviated version of the opera was finally produced in Sweden, and several partial revivals of the original work took place in the twentieth century. Aeneas is representative of the type of opera esteemed and promoted in the reign of Gustavus III. Although the plot is derived from Virgil, both composer and librettist spend much greater emphasis on character motivation, situation, and psychology. Kraus' compositional techniques include leitmotif of the kind developed by Beethoven and Wagner. His sense of theater was heavily influenced by the German sturm und drang movement. --- Rita Laurance, Rovi

Der RIAS Kammerchor und das Konzerthausorchester waren - neben einer Schar sich gut anhörender Gesangssolisten - die vorzüglich aufgespielt und prächtigst intoniert habenden Ausführenden dieser denkwürdigen Darbietung, die gleichsam dann den Schlussstrich von Zagroseks langjähriger Reihe "Oper konzertant", in der er uns mit Werken Mozarts, Glucks (3 Opern!!!), Braunfels', Kreneks und - jetzt eben - Krausens konfrontierte, bildete.

Das kostspielige Unterfangen, was dann jeweils nur unter Zuhilfenahme von diversen Stützgeldern und Mäzenatengroschen möglich wurde, war ganz unterschiedlich sinn- oder ertragreich; noch am ehesten vertretbar bei dem Großprojekt mit den drei Gluck-Opern (2007), wo der Regisseur Joachim Schlömer für paar sehenswerte szenische Ideen sorgte - - seine damalige Co-Mitstreiterin Susanne Øglænd hat das jetzt beim alten Kraus allein versucht und ist - nach meinem unmaßstäblch harschen Urteil - hochgrandios hiermit gescheitert: Auf 'nem schwarzen Segeltuch werden dann pausenlos Klein-Kinder-Filmchen, Schriftzitate und die Übertitelung des Operntextes mitgeliefert; unter diesem Lappen dann paar Klötzer, die wie Fantasiehäuser (Karthago's) aussehen, und wo und wie dann die Gesangsdarstellerinnen und Gesangsdarsteller ab und an ein Notenpult und einen Stuhl dann hin und her bewegen mussten usw. usf. --- .kultura-extra.de

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1. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Introduktion / Rezitativ 
2. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Arie 	
3. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Rezitativ 
4. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Duett 	
5. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Choral			play 	
6. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Rezitativ 	
7. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Intermezzo 	
8. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Chor			play 	
9. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Rezitativ / Arie 	
10. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Rezitativ
11. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Choral 	
12. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Rezitativ 	
13. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Arie 	
14. Der Tod Jesu, oratorio for soprano, alto, bass, chorus & orchestra, Vb. 17: Schlußchor 	
15. Kom! din herdestaf att bära, church cantata for soprano, bass & orchestra, Vb. 15: Arie 	
16. Kom! din herdestaf att bära, church cantata for soprano, bass & orchestra, Vb. 15: Duett 	
17. Miserere nostre, for chorus & orchestra, Vb. 13 	
18. In te Domine speravi, for chorus & orchestra, Vb. 11


Stuttgarter Kammerorchester (Stuttgart Chamber Orchestra)
Helmut Wolf – conductor

Joseph Martin Kraus (20 June 1756 – 15 December 1792), was a composer in the classical era who was born in Miltenberg am Main, Germany. He moved to Sweden at age 21, and died at the age of 36 in Stockholm. He is sometimes referred to as "the Swedish Mozart", and had a life span which was very similar to that of Mozart's.

Kraus's music is characterized by sudden dramatic contrasts in register, character, and most striking of all, harmony. His contrapuntal abilities were first-rate, but his motivic development does not seem as advanced as either Mozart's or Haydn's. Compared to other contemparies, his lyrical gifts are apparent.

The oratorio Der Tod Jesu differs from the oratorios of many other composers in that Kraus wrote both the music and the text of this work. As a librettist, Kraus showed a series of scenes that covered the full spectrum of human emotions, from sorrow and fear to joy. The work corresponds fully to a rhetoric question already raised in Kraus's treatise Etwas von und über Musik fürs Jahr 1777:

"Should not church music be mostly for the heart?" ("Soll die Musik in den Kirchen nicht am meisten fürs Herz sein?")

Joseph Martin Kraus (ur. 20 czerwca 1756 w Miltenbergu, zm. 15 grudnia 1792 w Sztokholmie) – kompozytor szwedzki epoki klasycyzmu, zwany "szwedzkim Mozartem", zarówno ze względu na podobieństwo muzyki obu kompozytorów, jak i na same daty urodzin i śmierci ich obu.

Kraus studiował na uniwersytecie w niemieckim mieście Erfurt. Tam duży wpływ wywarł na niego literacki styl Sturm und Drang. jego idolem został zwłaszcza poeta Friedrich Gottlieb Klopstock. Wpływy literatury są w muzyce Krausa bardzo wyraźne.

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