WOMEN UNDER INFLUENCE


ANA QUINTANS 
| SOPRANO

FILIPE RAPOSO 
| PIANO

WOMEN UNDER INFLUENCE

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SEPTEMBER 15th 2019 - 6PM

PALÁCIO DE QUELUZ

Ana Quintans, internationally celebrated for her work in Baroque and Mozartian repertoire, accepted the challenge proposed by the Sintra Festival to design an unexpected and unusual program: a cross between styles and historic periods.  Since Renaissance songs till the most recent versions of urban repertoire from the twentieth century - arranged by the pianist-composer Filipe Raposo -  the recital of the most exciting and international Portuguese singer, Ana Quintans, admired all over Europe, will be a marvellous opportunity to travel through the intimate world of the songbook of women.

ANA QUINTANS | SOPRANO

FILIPE RAPOSO | PIANO

PROGRAM
  1. “Je voudrais en savoir davantage” Paul Misraki (1908-1998) 
  2. “Sans frayer dans ce bois” Marc-Antoine Charpentier (1643-1704) 
  3. “Oft she visits” Henry Purcell (1659-1695) 
  4. “Che si può fare?” Barbara Strozzi (1619-1677) 
  5. “Dis, quand reviendras-tu?” Barbara (1930-1997) 
  6. “When i have often heard young maids complaining” Henry Purcell (1659-1695) 
  7. “I feel pretty” Leonard Bernstein (1918-1990) 
  8. “Speak low” Kurt Weill (1900-1950)
  9. “A charm” Benjamin Britten (1913-1976) 
  10. “Hor ch’è tempo di dormire” Tarquinio Merula (1595-1665)
  11. “La mort m’apparaît souriante” Jacques Offenbach (1819-1880)
  12. “Verginella io morir vò” Francesco Cavalli (1602-1676) 
  13. “Mi fa rider la speranza” Barbara Strozzi (1619-1677) 
  14. “Folle è ben che si crede” Tarquinio Merula (1595-1665)
  15. “Je ne t’aime pas” Kurt Weill (1900-1950) 
  16. “Vos mépris chaque jour” Michel Lambert (1610-1696)
  17. “What’ll I do” Irving Berlin (1888-1989) 
  18. “Send in the Clowns” Stephen Sondheim (1930)
  19. “There’s not a swain” Henry Purcell (1659-1695) 
  20. “La menteuse” Michel Legrand (1932-2019)
  21. “Je suis grise” Jacques Offenbach (1819-1880) 

ANA QUINTANS

Ana Quintans was born in Lisbon and developed her artistic skills in many directions as she did her first steps in theater and dance. After graduating in Sculpture in Lisbon Fine Arts University (1998) she studied singing at the Music Conservatory in Lisbon and joined the Flanders Operastudio in Gent (with a scholarship by Gulbenkian Foundation).

Devoting most of her work to the baroque repertoire, Ana Quintans has collaborated with many leading baroque orchestras as Les Arts Florissants; Il Complesso Barocco; Les Musiciens du Louvre; Le Poème Harmonique; Ensemble Pygmalion; Al Ayre espanol; Concerto de' Cavalieri; Il Pomo d'Oro; Les Folies Françoises; Divino Sospiro and Músicos do Tejo.

Operatic highlights include roles like Drusilla in L’incoronazione di Poppea by Monteverdi in Teatro Real de Madrid and Maggio Musicale Fiorentino; Amour in Hippolyte et Aricie by Rameau at Glyndebourne Festival; Belinda in Dido and Aeneas by Purcell at Opéra de Rouen and in Thêatre Royale de Versailles;  Amore in Egisto by Cavalli in Opera Comique Paris; Jonathas in David et Jonathas by Marc-Antoine Charpentier at the festivals of Aix-en-Provence Festival and Edinburgh, BAM New York and Opera Comique Paris; Amor in Orfeo ed Euridice by Gluck in Salzburg Mozartwoche and Scottish Opera; title roles in La Spinalba and Ippolito by F. A. Almeida in Casa da Música Porto and CCB Lisbon; Ismene in Antígono by Mazzoni; Atalanta in Serse, Clizia in Teseo and Dalinda in Ariodante by Handel; First Lady and Papagena in Die Zauberflote by Mozart in TNSC in Lisbon.

Her concert repertoire ranges from Monteverdi to contemporary music. The portuguese composer Luis Tinoco wrote for her voice works like From the Depth of DistanceSongs of a solitary dreamer and the role of Nancy in Evil Machines, a musical fantasy staged by Terry Jones.

Has collaborated with conductors such as Michel Corboz; Ivor Bolton; William Christie; Marc Minkowski; Alan Curtis; Vincent Dumestre; Leonardo García Alarcón; Paul McCreesh; Antonio Florio; Enrico Onofri; Andrés Orozco Estrada; Raphael Pichon; David Alan Miller; Laurence Cummings; Marcos Magalhães; Marcello di Lisa; Aapo Hakkinen; Riccardo Minasi and Leopold Hager.

Performed as soloist in venues like Opéra de Lyon; Opéra Comique de Paris; Salle Pleyel Paris; Salzburger Festspiele; Teatro Real de Madrid; DNO Amsterdam; De Vlaamse Opera Gent; Festival d’Aix en Provence; Mariinsky Theater Moscow; Tchaikovsky Concert Hall St. Petersburg; Victoria Hall Geneva; Teatro Nacional São Carlos Lisboa; Scottish Opera; Edinburgh International Festival; Bozar Brussels; Wiener Festwochen; Teatro São Luiz Lisboa; Salle Gaveau Paris; Opera d’Avignon; Théâtre de Rouen; Centro Cultural de Belém Lisboa; Carnegie Hall New York; BAM Festival NY; Festival Ambronay; Casa da Música Porto; Helsinki Music Center; Stadttheater Klagenfurt; Lasdestheater Bregenz; Cité de la Musique Paris; Théâtre des Champs-Elysées Paris; Fundação Calouste Gulbenkian; Concertgebouw Amsterdam and La Folle Journée Tokyo.

​Recent engagements included the role of Despina in Così fan Tutte by Mozart in Glyndebourne; Ilia in Idomeneo by Mozart in TNSC Lisbon; Minerva in El Prometeo by Draghi in Opera de Dijon; Drusilla and Virtù in L'incoronazione di Poppea by Monteverdi  in Salzburger Festspiele.

This season Ana Quintans is back in TNSC Lisbon with a Graham Vick 's new production of Alceste by Gluck; Amore in Orfeo ed Euridice by Gluck in Opera de Massy; is performing arias by Vivaldi and Albinoni with Concerto de' Cavalieri and Marcello di Lisa in Hamburg; and Mattheus Passion by Bach in a Romeo Castellucci's production at Gulbenkian.