Delphine Gillot News
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2024-03-28
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2022-05-22 08:53:11
Blow's Venus & Adonis and Purcell's Dido & Aeneas from HGO
Purcell: Dido & Aeneas - Katey Rylands, Sonny Fielding - HGO (Photo Laurent Compagnon) Blow: Venus & Adonis, Purcell: Dido & Aeneas; Elizabeth Green, Conall O'Neill, Ralph Thomas Williams, Katey Rylands, Sonny Fielding, Julia Surette, Helen Cooke, dir: Jessica Dalton, cond: Seb Gillot; HGO at the Cockpit An imaginative updating of the two 17th century English classics with a very fine young cast. Henry Purcell was John Blow's pupil and the two were friends as well as colleagues. It has long been accepted that Purcell's opera Dido and Aeneas was influenced by Blow's Venus and Adonis. The two works being the earliest surviving English language operas, as well as some of the greatest. Recent scholarship has shown other intriguing links between them. Venus and Adonis was written for performance at the court of King Charles II, whilst the only known performance of Dido and Aeneas was at Josiah Priest's school for young ladies in Chelsea. […]
2021-06-14 07:13:16
17th century revival: HGO makes modern drama of Cavalli's early masterpiece, L'Egisto
[…] double cast and on Saturday 12 June 2021 we saw Kieran White as Egisto, Helen May as Climene, Eric Schlossberg as Lidio, Shafali Jalota as Clori, Tom Kelly as Hipparco and Stephanie Hershaw as Amore, with Rachel Allen, Ana Beard Fernandez, Anna-Luise Wagner, Emily Noon and James Berry. Designs were by Christian Hey. The work was performed in an edition by Marcio da Silva and Cedric Meyer. The accompanying instrumental ensemble consisted of harpsichord (Sebastian Gillot), lute (Cedric Meyer), violins (Edmund Taylor, Kirsty Main), viola da gamba (Kate Conway), cello (Jacob Garside), recorder (Joel Raymond) and percussion/recorder/guitar (Marcio da Silva). The plot starts in media res, clearly Cavalli and Faustini were not interested in the action as such but simply the reactions of the lovers. Before opera starts, Egisto and Clori were in love, as were Lidio and Climene. Capture by pirates and other events conspire to bring Egisto […]
2021-06-07 16:49:00
[…] at least not in this small, socially distanced theatre, that Cavalli’s music cried out for more. Rather, it furnished a crucial harmonic backdrop of imagination, against which the human voice could be heard and human gesture seen. If I cared less for the folk-like excursions now expected in early opera performances of a certain school, they were rare and clearly relished by the players, whose pleasure it would be churlish unduly to begrudge. With Sebastian Gillot, assistant music director, at the keyboard, much was possible and realised in aural tapestry, but also much was offered in support to the singers, the continuo ensemble flexible enough to be reinforced with a minimum of fuss where necessary. A staging that relied on distance, on separation, and on mischief and anguish in their wake was doubtless developed with our current predicament in mind, yet fitted very well with a plot in which two […]
2020-10-30 07:54:42
Eboracum Baroque: from Crowdfunding Messiah to Christmas at Wimpole
[…] a bit different this year! The group will be presenting a festive programme of seasonal music filmed in Wimpole Church and Wimpole Hall on Saturday 12 December 2020, including arias from Bach's Magnificat, music by Vivaldi and Nicola Porpora, and Noels by Charpentier. Further details from the group's website. 'I know that my Redeemer liveth' from Handel's MessiahEboracum Baroque at Handel & Hendrix in London in October 2020Charlotte Bowden (soprano), Miri Nohl (cello) and Sebastian Gillot (Harpsichord)
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