LES SOIRÉES MUSICALES
Um Serão Musical no Palácio

SEPTEMBER 24th 2022 - 9.00pm

Palácio Nacional de Sintra

SEPTEMBER 25th 2022 - 5.00pm

Sociedade Recreativa da Assafora

Rita Marques, soprano
Cátia Moreso, meio-soprano
Marco Alves dos Santos, tenor
Luís Rodrigues, barítono
João Paulo Santos, piano

 

Entre os 19 e os 37 anos, Giacomo Rossini (1792-1868) escreveu 40 óperas, até se recusar, definitivamente e até ao final da sua vida, a voltar a este género musical, vida que, felizmente, foi longa.  No entanto não deixou completamente de escrever para a voz; para além do seu Stabat Mater (1841) e da Petite Messe Solennelle (1863), Rossini dedicou-se a escrever vários conjuntos de canções de salão, reunidas nas coleções Soirées Musicales (publicadas em 1834) e Péchés de Vieillesse (1857-1868) muitas das quais eram apresentadas nas noites de salão parisienses.  A vida musical parisiense fervilhava nos salões burgueses. O de Rossini era frequentado por figuras da primeira linha do meio musical, como Verdi, Boito ou Liszt. Se a ópera ficara para trás na vida profissional de Rossini, as canções destas coleções retiveram em pleno o lirismo, a técnica, a expressividade e as emoções próprias daquele que era o mais respeitado compositor de opera vivo, qualidades apuradas nessas canções pela visão de um compositor em idade mais madura.
Outro compositor incluído neste concerto é Saverio Mercadante (1795-1870). A contribuição de Mercadante para a canção italiana é por vezes negligenciada. As suas quase seis dezenas óperas caíram em parte no esquecimento só estando recentemente a ser objeto de revisitação. Através destas redescobertas pelas gravações da editora Opera Rara, percebe-se hoje melhor a importância deste compositor que soube fazer a ponte entre as linguagens rossiniana e a verdiana. As suas Soirées italiennes (1836), das quais iremos ouvir algumas canções, foram dedicadas aos cantores mais importantes do seu tempo, como Rubini, Lablache ou Nourrit, mereceram inclusivamente a atenção de Liszt para serem alvo de versões para piano solo por este compositor húngaro.
O prolifero Gaetano Donizetti não podia faltar a esta chamada ao nosso Salão: as suas canções são como as suas óperas – luminosas, fluentes, brilhantes e fáceis de agradar - uma linguagem clara e direta aos sentidos em que a voz, esse meio único e mágico, se encarrega de transformar o mensageiro em mensagem; o compositor sabe tornar a voz em voz-objeto, que vale por si só e que se torna na razão fundamental porque nos deixamos fascinar emocionalmente pelo Bel Canto mais do que por qualquer outro idioma musical.

Gabriela Canavilhas

PROGRAMA

 

I

Gioacchino Rossini
I Gondolieri 

Saverio Mercadante
Domando a queste fronde (Nicola Valetta)

Gaetano Donizetti
Le crépuscule (Victor Hugo)

Saverio Mercadante
Lo Marenaro (Marco d’Arienzo)

Gaetano Donizetti
Il crociato (Carlo Guaita) 

Gaetano Donizetti
I bevitori (Leopoldo Tarantino)

Gioacchino Rossini
Le Gitane (Giuseppe Torre)

II 

Gioacchino Rossini
La serenata (Carlo Pepoli)

Gaetano Donizetti
Un guardo ed una voce (Michele Palazzolo) 

Gioacchino Rossini
La fioraia fiorentina (Giuseppe Torre)

Gaetano Donizetti
Il trovatore in caricatura (L. Borsini)

Gaetano Donizetti
Viva il matrimonio (Leopoldo Tarantino)

Gioacchino Rossini
La chanson du bébé (Emiliano Pacini) 

Gioacchino Rossini
La Passeggiata

Rita Marques, soprano

 

Rita Marques was born in Caldas da Rainha, Portugal. She completed her Singing degree in Escola Superior de Música de Lisboa (2010-2013). With a Fundação Calouste Gulbenkian/ENOA – European Network of Opera Academies scholarship, she attended workshops with Claudio Desderi (FCG, Lisbon, Oct/2014, Jun/2015, Oct/2015), June Anderson and Cecilia Gasdia (Verona, Sep/2015) and the “Wiener Operette Workshop” in the Bayrische Theatherakademie (Munique, Oct/2015)
Her opera roles include Königin der Nacht in “Die Zauberflöte” by W. A. Mozart; Princess, Young Lady and Dame in “Lady Sarashina” by P. Eötvos; Despina in “Così fan tutte” by W. A. Mozart; Sofia in “Il Signor Bruschino” by G. Rossini and Soeur Alice in “Dialogues des Carmelites by F. Poulenc, Anna Kennedy in “Maria Stuarda” by G. Donizetti (TNSC, Carminati/De Rosa), Lakmé in “Lakmé” by L. Delibes, Fiordiligi in “Così fan tutte” by W. A. Mozart, Giovanna in “Ernani” by G. Verdi.
In 2017 she collaborated with Placido Domingo in his MEO Arena concert, in Lisbon, conducted by Eugene Kohn. In 2018 won the 2nd Place and the Audience Award at the 10th Portuguese Rotary Foundation Singing Competition. She was awarded with the Municipal Cultural Merit Medal in Caldas da Rainha. Still in 2018, she was one of the 40 finalists of the Operalia – The World’s Opera Competition, promoted by Plácido Domingo.
She has been singing in several recitals with piano and orchestra. In February 2019 she made the absolute debut of the piece “El Mar y las Campanas” by Nelson Jesus.
In 2021 Rita won the 1st Prize at the Prémio José Augusto Alegria, in Évora (Portugal) and she was also a laureate at the 1º Concorso Internazionale per Voci Liriche “Vincenzo Bellini” at the Teatro Massimo Bellini di Catania (Italy).

Cátia Moreso, meio-soprano

 

Cátia Moreso studied at the Guildhall School of Music and Drama, in London, where she obtained a degree in singing and a Master's degree (Opera Course). Fellow of the Calouste Gulbenkian Foundation, she studied at the National Opera Studio with Susan Waters.
Her opera repertoire includes: Jocasta in Oedipus Rex, La ciesca in Gianni Schicchi, 3rd Magd in Elektra, Ježibaba in Rusalka, Suzuki in Madame Butterfly, Mother Goose in The Rake's Progress, Tisbe in La Cenerentola, Eva in Comedie on the Bridge , Clotilde in Norma, 2nd Witch and Spirit, in Dido and Aeneas, Maddalena and Giovanna in Rigoletto, Mezzo in Lady Sarashina by Peter Eötvos, Eboli in Don Carlo and La cieca in La Gioconda, Giano in Il Trionfo d'Amore, Dianora and Elisa in La Spinalba de Almeida; Hanna Wilson / Tracy in Richard Wargo's The Losers, 3rd Lady in The Magic Flute, Baroness in Chérubin, Madame de Croissy and Mère Jeanne in Dialogues des Carmélites; Zanetto at Mascagni's homonymous opera, Carmella in La vida breve de Falla (Tanglewood); Marcellina, in Le Nozze di Figaro, Carmen, Santuzza in Cavalleria Rusticana, Mrs. Quickly in Falstaff.
Her concert repertoire includes Requiem de Verdi, Duruflé, Mozart and Bomtempo, Nelson Mass de Haydn, Gloria and Magnificat de Vivaldi, Stabat Mater and Magnificat de Pergolesi, Magnificat, Oratorio de Natal, Stabat Mater and Petite Messe Solennelle by Rossini, Mass No. 3 and Te Deum by Bruckner, Elijah and St. Paul by Mendelssohn, Messiah and Te Deum by Handel, Te Deum by Zelenka and Ninth Symphony by Beethoven.

Marco Alves dos Santos, tenor

 

Marco Alves dos Santos graduated from Guildhall School of Music & Drama in London on a Gulbenkian scholarship, in 2003. Has worked as a soloist in Portugal, Spain, France, Italy, England and Germany, and his operatic roles include Tamino (Zauberflöte), Mr. Owen (Postcard from Morocco), Tristan (Le Vin Herbé), Leandro (La Spinalba), Orphée (Descente d’Orphée aux Enfers), Ernesto (Don Pasquale), Anthony (Sweeney Todd), Duca di Mantova (Rigoletto), Die Hexe (Hansel & Gretel), Prunier (La Rondine), Governor/Vanderdendur/Ragotski (Candide), Ferrando (Cosí fan Tutte), Conte Almaviva (Barbiere di Seviglia), Acis (Acis & Galatea), Melot/Seeman (Tristan und Isolde), Male Chorus (Rape of Lucretia), Aegisth (Elektra) and Arbace (Idomeneo).
Recent concert appearances include the Evangelist in Bach’s Johannes-Passion, Weihnachts-Oratorium, Himmelfahrts-Oratorium and Oster-Oratorium and tenor soloist in Symphony No. 9 (Beethoven), Messiah (Handel), Petite Messe (Rossini) and Requiem (Mozart).
Engagements for this season include Gilvaz (Guerras Alecrim e Manjerona), Recitant (L'enfance do Christ), Don Ottavio (D.Giovanni), Tybalt (Romeo et Juiliette) and Bach’s Matthäus-Passion arias at Festival d'Aix-en-Provence.

Luís Rodrigues, baritone

 

Luís Rodrigues has built a solid career in in Portugal, namely in Opera, with a regular presence at Teatro Nacional de São Carlos where he has sung roles such as Figaro (Il barbiere di Siviglia), Guglielmo, Albert, Nick Shadow, Sharpless, Escamillo, Kurwenal, Gianni Schicchi, Beauperthuis, Sulpice and Don Profondo. As an Oratory soloist, he has performed in various programs with the Lisbon Metropolitan Orchestra and the Lisbon Cantat Choir or the S. José Choir (Ponta Delgada), the Porto National Orchestra and the Porto Cathedral Choir, also with the Gulbenkian Choir and Orchestra. As a chamber music singer, he collaborated with pianists David Santos, Nuno Vieira de Almeida, Jaime Mota and João Paulo Santos and with groups such as “Drumming” and “Remix Ensemble”, having also performed the “Kindertotenlieder ” with the ONP, “Lieder eines fahrenden Gesellen” and “Poème de l'amour et de la mer” with the Orquestra Sinfónica Portuguesa, and “Des Knaben Wunderhorn” with the OML conducted by Michael Zilm. An interpreter of recognized versatility, he is also frequently asked to premiere works of Contemporary Music. He recorded Suppé’s “Requiem” (Virgin Classics) and Salieri (Pentatone) with the Gulbenkian Choir and Orchestra. Also recorded “Le Donne Cambiate” (Marco Polo), “La Spinalba” and “Il Mondo della Luna” (Naxos). As a recitalist, he recorded songs by composers from Oporto with pianist Jaime Mota (Fermata), Schubert's Viagem de Verão with pianist David Santos (AboutMusic) and songs by Vianna da Motta with pianist João Paulo Santos (Tradisom).

João Paulo Santos, pianist and conductor

 

Concluded the Piano Superior Course at the National Conservatory, with Adriano Jordão. He studied also with Helena Costa, Constança Capdeville, Elizabeth Grümmer, among others. He received a grant from Calouste Gulbenkian Foundation for striding in Paris from 1979 to 1984. He was Assistant Conductor of the Choir of the National Theater of São Carlos from 1984 to 1990, when he was appointed Full Conductor until 2004. At the same time, develops an intense activity as conductor. As a pianist, he has performed solo, in chamber groups, accompanying singers, and as a duo with cellist Irene Lima since 1985. He has recorded several albums and was awarded the Acarte 2000 Award as the music director of “The English Cat”.
He made his musical direction debut in 1990 with “The Bear” (W. Walton), directed by Luis Miguel Cintra. He directed children's operas, musicals, concerts and operas all over the country. Among his premieres in Portugal, were operas Renard (Stravinski), Hanjo (Hosokawa), Pollicino (Henze), Albert Herring (Britten), Neues vom Tage (Hindemith), Le Vin Herbé (Martin) and The English Cat (Henze). and absolute premieres of works by Portuguese composers Chagas Rosa, Pinho Vargas, Eurico Carrapatoso and Clotilde Rosa. He is responsible for research, editing and interpretation of Portuguese works of the 19th and 20th centuries.
He currently serves as Director of Musical Studies and Stage Musical Director of the National Theater of São Carlos.