Trio No. 1 in D major
1. Vivace
2. Larghetto
3. Minuetto e trio
Trio No. 2 in G major
4. Allegro
5. Andantino
6. Allegretto
Trio No. 3 in C major
7. Allegretto
8. Andante
9. Minuetto e trio
Trio No. 4 in A major
10. Comodo
11. Andante
12. Minuetto e trio
Trio No. 5 in F major
13. Allegro 
14. Andante
15. Allegretto
Trio No. 6 in B flat major
16. Vivace
17. Andante
18. Allegro

Accademia Farnese: 
Claudio Ferrarini - flute 
Elisabeta Garetti - violin 
Luca Pincini – cello

Josef Myslivecek (9.3.1737 Praha - 4.2.1781 Rome), the greatest Czech composer of 18th century. Son of a miller from Prague (tenant of two famous mills situated on both sides of Charles Bridge: Sova's Mills at Kampa and Novotny Footbridge at New Town - known as Myslivecek's till now - which serves as Museum of B.Smetana today). He got the basic musical education at Jesuit College, later he studied mathematics, statics and hydraulics. In 1761 he became the flour-milling master but he did not take over father's mills; he rather abandoned them in favour of his brother, devoted himself fully to music. He studied composition under F. Benda and F. Habermann, later under J.Seger. After the success of first works (6 "sinfonies" named after first 6 months of the year) he left to Italy to study opera composition under G.B.Pescetti in Venice. He wrote his first opera in 1764 (it did not pass on till today). He got a success and wrote another opera for Naples called "Il Belleferonte" in 1767 which meant definitive success and fame all over the country. He was called "Il divino Boemo" (Divine Czech); he is also known as Giuseppe Venatorini which is Italian translation of his name. After the success in Naples he is at the top of his career. He got a glory, lot of money and was writing his best works. In about 1770 he met W.A.Mozart in Bologna; they maintained friendly relations since that time. Mozart often expressed his admiration of Myslivecek's works and that was one of the reasons why he took a fancy to Prague, Myslivecek's bithplace. In 1777 he had a accident in a carriage on his way to Munich. He got an infection in his face wounds; he spent a year in attempts to heal the wounds but finally his face got badly distorted. In 1779 he wrote one more opera (Armida) which unlike the previous ones was in a grim mood. After bad success he quit musical life and two years later he died in poorness and oblivion. --- czechmusic.net

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1. Antigona	(Live)	2:34:21

Ermione – Raquel CAMARINHA
Antigona – Rosa Elvira SIERRA
Creonte – Giovanni COLETTA
Euristeo – William LOMBARDI
Learco – Annina HAUG
Alceste – Nathalie COLAS

Szeged Symphony Orchestra
Moritz Caffier – Conductor

Musical drama in three acts
Libretto by Gaetano ROCCAFORTE

Armel Opera Competition at Szeged, Hungary 2011

Josef Mysliveček and his identical twin brother Jáchym were born to a well-to-do miller in Prague. Both sons attended Charles University in Prague, but Josef Mysliveček soon dropped out due to his poor grades. Josef pursued the family business for the next decade, abandoning his miller’s trade to become a musician. In 1763, he traveled to Venice to study composition,and scored significantly with his first attempt at opera, Semiramide, at Bergamo in 1765. His Il Bellerofonte was a great success in Naples, and led to a number of commissions from Italian theatres. In 1770 he met the young Wolfgang Amadeus Mozart in Bologna, where Mysliveček was a member of the Accademia Filarmonica. “He exudes fire, spirit and life”, wrote Mozart in a letter home. Similarities in his musical style with the early galant works of Mozart have often been noted. Mysliveček’s fame spread outside Italy: a number of his works were performed in Munich in the 1770s. For the court of Portugal his operas were carefully copied out in longhand, for performances and the collection at the Ajuda library, where eighteen scores are preserved today, the largest collection anywhere. His final operas were unsuccessful, however. He died at the age of 43, impoverished, of syphilis in Rome; shortly before his death he had his nose removed, hoping in vain that this operation would cure his venereal disease. He is often described as the father of Czech opera. Certainly he was the first of his compatriots to become a famous operatic composer; but his operatic idiom had no Czech characteristics, instead sharing more in common with Italian opera seria. For the better part of posterity, he is regarded as a classical music “character” more so than as a classical musician;. Mysliveček himself was the subject of a saucy 1912 opera by Stanislav Suda, Il divino Boemo. The first thematic catalog of Mysliveček’s work did not appear until 1999, and although it was his 25 operas that made him famous during his lifetime, his finest contributions were made to the field of oratorio.

SYNOPSIS

The opera is the sequel to the well known story of Sophocles’ Antigone. Antigone doesn’t end her life, instead flees into a forest nearby. She is already married at the time, expecting the child of Euristeo, son of the tyrant Kreon. Whilst Antigone is on the run the child disappears, and is at first adopted by a shepherd, but later – brought up by Kreon’s sister, who tries to keep the child’s origin a secret.

Trying to fulfill a prophecy – and believing his daughter-in-law to be dead – oppressor Kreon decides to marry off his son once again, and singles out Ermione (Antigone’s daughter) as the bride-to-be. He asks Apollo’s priestesses to send one of their numbers to be present at the wedding. Their chosen representative is no other than Antigone, who joined their order previously. Antigone considers her call to be God’s mission that allows her to take her revenge on the Theban tyrant. That is when all learn that Euristeo’s second wife is indeed his very own daughter. --- armelfestival.org

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Disc: 1
  1. Sinfonia
  2. Deh S'affretti Astri Tiranni (No. 1: Aria)
  3. Come O Signore? Alto Silenzio Intorno Tutta Ingombra la Reggia (Recitativo Scena I)
  4. Merta Gli Allori Al Crine (No. 2: Aria)
  5. Misero, Che Faro! (Recitativo Scena II)
  6. FRÀ GL' Affanii Oh Dio (No. 3: Aria)
  7. Si Lagrimoso Arsace? (Recitativo Scena III)
  8. Chi È Presso Del Soglio (No. 4: Aria)
  9. Marcia (No. 5)
  10. Questo, Che Vedi, O Sposa È Il Regno Tuo (Recitativo Scena Iv)
  11. Al Caro Ben Vicina (No. 6: Aria)
  12. Prence, Vane, E Disponi L'apparato, la Pompa (Recitativo Scena V)
  13. E' Che Vuol Dire, Evandro la Mestizia in Selene? (Recitativo Scena Vi)
  14. Pensa Che Sol Per Poco (No. 7: Aria)
  15. In Libertade Alfine Respirar Qui Poss'io (Recitativo Scena Vii)
  16. Tu Parli Di Morire? (No. 8: Scena E Duetto)

Disc: 2
  1. Principessa T'inganni (Recitativo Scena I, Act II)
  2. Vedrò Per Sempre in Calma (No. 9: Aria)
  3. Forse M'ingannerò (Recitativo Scena II)
  4. Quanto Sai, Quanto Vedi (Recitativo Scena III)
  5. Se Vuoi Dell'indegno (No. 10: Aria)
  6. Si Chiuda Pur Nel Petto Per Poco Il Mio Furor (Recitativo Scena Iv)
  7. Ah Son Perduto! (Recitativo Scena V)
  8. Serba Costante Il Core (No. 11: Aria)
  9. Principessa, Cotanto Confuse Io Son (Recitativo Scena Vi)
  10. Dove, Ahi Dove Son Io? (NR. 12: Recitativo Ed Aria)
  11. Tu Sei Salva Alma Mia (Recitativo Scena Vii)
  12. Marcia (No. 13)
  13. Di Vassallo Al Dover, Signor (Recitativo Scena Viii)
  14. Cedere È Forza, O Cara, Al Rigor Del Destin (No. 14: Scena E Rondo)
  15. Evandro, Evandro... Ah Non Partir (Recitativo Scena Ix)
  16. Vedrai Se Un Fido Core (No. 15: Aria)
  17. Pur Troppo Il SÒ, Che Invano Io Mi Lusingo (Recitativo Scena X)
  18. Chi Vide Mai Di Quella Più Ostinata Costanza (Recitativo Scena Xi)
  19. Pietosi Dei, Quanto VI Deggio (Recitativo Scena Xii)
  20. Perfidi, Al Mio Furore Non Spate Involarvi (Recitativo Scena Xiii)
  21. Tremate, Empi Tremate (No. 16: Terzetto)
  22. Ecco Sciolti (Recitativo Scena I, Act III)
  23. Perfidi, I Vostri Lacci Furo Spezzati Invan (Recitativo Scena II)
  24. Perfidi, Io Sciologo Il Freno (No. 17: Aria)
  25. Vadasi (Recitativo Scena III)
  26. Sciogli, O Cara, Un Dolce Riso (No. 18: Aria)
  27. Oh Dei, Parte Il Mio Bene (Recitativo Scena Iv)
  28. Mesti Affanni, Fiere Pene (No. 19: Aria)
  29. Ah Per Pietà (Recitativo Scena Ultima)
  30. Oggi, Che Stringe Imene (No. 20: Coro)

Medonte – Thomas Michael Allen
Selene – Juanita Lascarro
Arsace – Susanne Bernhard
Evandro – Stephanie Elliott
Zelinda – Lorina Castellano
Talete – Ulrike Andersen
L'Arte del mondo
Werner Ehrhardt - conductor

Live rec. 12 december 2012, Leverkusen, Bayer Kulturhaus

When this opera’s oratorio was rediscovered in 1928, it was first believed to be composed by Mozart. But in fact it was a piece of the last opera of the Prague composer Josef Myslivecek (1737–1781), with whom Mozart had friendly relations and who indeed was inspired by Mysliveceks work. This world premiere recording of the opera “Medonte” by the ensemble l’arte del mondo shows imposingly the exceptional skills of this wrongly neglected composer.

Il Boemo – the composer of Medonte.

In 1928 an Italian pianist and music scholar thought he could amaze the public with a sensational discovery: he had unearthed “an unknown and as yet unpublished oratorio” by Mozart, Isacco figura del redentore. But the work wasn’t actually as unknown as its misled discoverer believed; he could easily have found proof of its existence under the name of its real composer, one Joseph Mysliveček. At least the unfortunate scholar could take comfort in the fact that he had attributed a truly first-rate composition to none other than Mozart!

But who was this Joseph Mysliveček, a composer able to write music that sounded like Mozart? On closer investigation, we find to our surprise that the opposite is true: Mozart actually took inspiration Mysliveček, and not the other way round! While still only a boy, Mozart had met Mysliveček on his travels through Italy, and the Czech composer’s music seems to have made an impression on him. This much is clear from a letter the young Mozart wrote to his sister from Milan, asking her to “find out whether they have this symphony by Mislievecek in Salzburg or not; if they don’t, we’ll bring it back with us”.

Mysliveček was actually one of the very few fellow composers with whom Mozart maintained a friendship for any length of time. We learn from letters written by Mozart’s father Leopold that the two composers first met in Bologna in 1770: “Herr Misliwetschek visited us several times in Bologna, and we repaid his visits. He is a gentleman, and we became very good friends with one another.” The young Mozart for his part certainly continued to cultivate the friendship, and as he eagerly absorbed any interesting music that came his way, it’s no surprise that he studied Myslivečeks works too – especially as the Czech composer had become firmly established on the Italian music scene. Evidence of Myslivečeks direct influence can be found in Mozart’s instrumental music from the early 1770’s, and likewise in the first steps that Mozart took in the field of opera and oratorio—e.g. in Mitritdate or La Betulia liberata. Some musicologists have also assumed connections with Mysliveček in later works from Mozart’s pen, and this hypothesis possesses a certain plausibility, although watertight proof cannot be found.

It seems nothing short of amazing that Myslivečeks name has sunk into almost complete oblivion over the centuries. The fact that he, a foreigner, was able to make a name for himself as a composer of Italian operas, is in itself remarkable. His music was held in such respect that he was even honoured with his own nickname—“il Boemo”, the Bohemian. And “il Boemo” even managed to make his own mark on the genre of opera seria, which had become bogged down in its own rigid traditions. Inspired by the innovations of Christoph Willibald Gluck, he retained the basic structures of Italian opera, but rejected its almost mechanical artificiality in favour of catchier melodies; he strove for harmonic richness, and increasingly wrote arias no longer in the standardized da capo form, but as rondos instead. Myslivečeks life story is colourful enough to have been taken from a novel, and it did actually serve as the basis for more than one book, e.g. for Carl von Pidoll’s Boemo divino. In 1912 Stanislav Suda even composed a MMysliveček opera! The composer’s origin was in itself unusual for 18th century musical circles: his father was a miller, and the young Joseph initially followed in his footsteps and trained to be a miller too, before he turned his full attention to music. Myslivečeks aristocractic patron, Count Vinzenz von Waldstein, enabled the young composer to go to Venice in 1763 to perfect his skills, and four years after this he achieved his breakthrough with the opera Il Bellerofonte, composed for Naples. Numerous opera commissions followed, and as far as we know today Myslivečeks oeuvre included no fewer than 26 operas. Alongside his artistic reputation, he also became known as a spendthrift, and only a year after his death one biographer noted that “he often found himself in such dire straits that he had to borrow money. Honour and fame were much more important to him than all the riches in the world”. What’s more, Mysliveček apparently had a fondness for sexual excess, and the resulting syphilis tormented him in the last years of his life. In 1777 he submitted to an operation which, to put it mildly, was not a success: Mozart visited him afterwards and wrote home to Salzburg that “Chirurgus Cuco, the idiot, has burnt his nose off – one can only imagine the pain!” The story ends on a sad note: one of his last operas, Armida, flopped at its première in Milan in 1780, and a good year later the composer died aged only 43—abandoned by fortune, in poverty and disfigured by illness.

Like Armida, Medonte was written in 1780; but after the disaster he experienced in Milan, Mysliveček had its first performance given at the Teatro Argentina in Rome. But the different venue didn’t bring Medonte any more success at the première than Armida had had. The poor reception accorded to Medonte was certainly undeserved, and it wasn’t long before Arsarce’s rondo aria “Luci belli, se piangete”, for example, was being reprinted in music journals and sung all over Europe. We can only speculate what caused the work to flop: was it such musical innovations as the daring trio at the end of Act Two, which the Roman audience didn’t like at all? Or was it the fault of Giovanni de Gamerra’s libretto? There were no circumstances, however, that prevented Mysliveček from composing marvellous music, such as Selene’s scene in Act Two („Dove, ahi dove son io?“) with its remarkable harmonic diversity. After the end of its run in Rome, Medonte disappeared from the public eye—unfairly, it must be said. A copy discovered in St. Petersburg—albeit without any secco recitatives—enabled the first modern production to be put on in 1961. Then, a few years ago, the music scholar Olaf Krone found another manuscript in Paris, and this one turned out to be more or less complete. Thanks to his discovery, we can now hear Medonte almost as the composer intended for the first time in over 230 years—the only number missing is the conciliatory closing chorus. Werner Ehrhardt took a comparable chorus from Myslivečeks opera Tamerlano and used it to fill the gap, and thus Medonte comes to a well-deserved happy end. ---Wolfgang Behrens, lartedelmondo.de

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CD1
 	Sinfonia
1-1 	Allegro / Andante / Presto 	7:14
	Act 1
1-2 	Chorus "Rendi Alle Selve" 	3:42
1-3 	Scene 1 / Scene 2 / Aria "Splende Cosi Talora" 	11:00
1-4 	Scene 3 / Aria "Giusti Dei Che Ben Vedete" 	8:56
1-5 	Scene 4 / Aria "La Frode Se Adempio" 	8:46
1-6 	Scene 5 / Scene 6 / Scene 7 / Aria " Non È La Morte" 	8:36
1-7 	Scene 8 / Aria "Prometti Ognor La Calma" 	6:53

CD2
2-1 	Scene 9 / Aria "Di Due Pupille Amabili" 	9:36
2-2 	Scene 10 / Scene 10 / Scene 11 / Duet "Vanne Pur Ma Dimmi Pria" 	9:28
	Act II
2-3 	Scene 1 / Aria "Già Cinto Sembra Mi" 	6:06
2-4 	Scene 2 / Aria "Come Potrai, Tiranno" 	5:08
2-5 	Scene 3 / Scene 4 / Aria "Parto: Ma In Quest' Istante" / Scene 5 	11:34
2-6 	Scene 6 / Recitative "Sarete Al Fin Contenti" / Aria "Ch'io Mai Capace" 	11:04

CD3
3-1 	Scene 7 / Scene 8 / Scene 9 / Scene 10 / Aria "Pria Ch'io Perda 	9:56
3-2 	Scene 11 / Aria "Palesar Vorrei Col Pianto" 	10:43
3-3 	Scene 12 / Aria "Se Ognor Fra Cento Affani" 	6:10
3-4 	Scene 13 / Recitative "Su Quell' Orride Sponde" / Aria "Di Quei Sassi" 	10:16
	Act III
3-5 	Scene 1 / Scene 2 / Aria " Nuove Procelle Ancora" 	7:00
3-6 	Scene 3 / Aria "Turbido, E Nero Il Di" 	4:14
3-7 	Scene 4 / Scene 5 / Aria "Qual Ristretto In Picciol Letto" 	5:21
3-8 	Scene 7 / Scene 8 / Trio "Barbare Stelle Ingrate" 	6:25
3-9 	Scene 10 / Chorus "Se Dei Numi A Questo Segno" 	3:05

Soprano [Argene] – Gladys Mayo
Soprano [Bellerofonte] – Celina Lindsley
Mezzo-soprano [Briseide] – Krisztina Laki
Tenor [Ariobate] – Douglas Ahlstedt
Tenor [Atamante] – Raul Gimenéz
Tenor [Diomede] – Štefan Margita
Chorus – Czech Philharmonic Chorus
Chorus Master – Lubomír Mátl
French Horn, Harpsichord – František Langweil
Harpsichord [Continuo] – František Xaver Thuri, Stefano Gibelato
Violone [Continuo] – František Pošta
Orchestra – Prague Chamber Orchestra
Conductor – Zoltán Peskó

His Times Mysliveček followed the standard 18th-century route into composing, starting in the church and ending in the theatre. This was a time when composers were itinerant and needed aristocratic patronage: Mysliveček got support from Count Vincenz von Waldstein and traveled to Rome in 1763 to learn his operatic craft with his schooling as a church violinist (and his previous life as an apprentice miller) behind him. He rode the crest of the Italian’s hunger for serious operas, winning his first success with ‘Il Bellerofonte’ (1767) in Naples and scoring numerous hits before two failures at the Carnaval of 1780 signaled his decline; welcome to the harsh world of Italian entertainment in the late 1700s.

His Music Mysliveček’s music is Italian in style and design. He wasn’t an innovator, but instead perfected existing operatic traditions – responding with a keen ear to the reforms that called for simpler tunes and accompaniments (even though complexity and brilliance in those areas had been one of his hallmarks). He wrote ear-catching oratorios and simply symphonies. In all his music there are unusually fresh melodies and interesting harmonic touches.

Himself So rich and full of intrigue was Mysliveček’s life that it was itself the subject of an opera in 1912, Stanlisav Suda’s Il divine buemo. Unfortunately Suda had to speculate as to the facts. Mysliveček was a ‘country boy made good’ with no musical experience from his miller father. He struck up a close (but doomed) friendship with Mozart, letters from whom describe Mysliveček as ‘full of fire, spirit and life’ and hint at his sexual promiscuity; he was linked romantically with numerous sopranos including Caterina Gabrielli. Like Mozart, Mysliveček died in poverty in 1781. His funeral was paid for by a mysterious Englishman known only as ‘Barry’. ---oae.co.uk

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1. Acte I
2. Acte II
3. Acte III

Dramma per musica in tre atti
Libretto: anonimo, da Pietro Metastasio
Prima rappresentazione: Napoli, Teatro di S. Carlo, 4 novembre 1778

Clisthene - Johannes Chum (tenor)
Aristea - Simona Houda-Šaturová (soprano)
Argene - Sophie Harmsen (mezzo-soprano)
Licida - Tehila Nini Goldstein (soprano)
Megacle - Raffaella Milanesi (soprano)
Aminta - Krystian Adam (tenor)
Alcandro - Helena Kaupová (soprano)

Coro: 
Alena Hellerová (soprano) | Jan Mikušek (countertenor)
Václav Čížek (tenor) | Tomáš Král (bass)

Collegium 1704
Dir. : Václav Luks

Stavovské divadlo v Praze [The Estates Theatre in Prague]
Monday 6 May 2013, 19.00 (3rd performance, 2nd with cast)

Broadcast CRo3 Vltava, 11.V.2013

The mature musical works of Josef Mysliveček (1737-1781) are rightly compared to the pieces his close friend and admirer W. A. Mozart wrote in his mid-period. Although the opera L’Olimpiade, dating from 1778, is one of the most accomplished of Mysliveček’s compositions, it has virtually been omitted from the modern operatic repertoire. This is the first-ever National Theatre production. Mysliveček’s L’Olimpiade has many renowned predecessors composed to Metastasio’s libretto, including Antonio Vivaldi’s and Giovanni Battista Pergolesi’s versions. The dramatic talent of the Czech, who gained unprecedented fame as an “Italian” opera composer, is still highly valued.

Against the backdrop of the Ancient Greek Olympic Games, a symbol of the Classical ideal of a mentally and physically balanced man, another timeless “fight for primacy” takes place with a certain bitter undertone – the close friends Megacle and Lycidas have no inkling that they are striving for the love of the same woman. Circumstances gradually force them to take fateful decisions – they either dishonour their friendship and the promises once given or renounce their love. We are presented with a view of the reverse side of human relationships, the heedless blindness of desire and passion which, just like excessive trust in friendship, leads to injudicious actions. Václav Luks and his Collegium 1704 orchestra will explore and present the work in a historically informed interpretation. And the stage direction, entrusted to Ursel promises another exciting integration of “early opera” and sophisticated contemporary theatre poeticism. --- narodni-divadlo.cz

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