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9:00 pm - At the Opera

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AT THE OPERA
Imperial Rome
Prepared and presented by Peter Poole

Monteverdi, C. The Coronation of Poppea.    Opera in Sinfonia, prologue and two acts. Libretto by Giovanni Busenello. First performed Venice, 1642.
[00:20]

Monteverdi, C. The Coronation of Poppea, Sinfonia and Prologue    
[10:11]

Monteverdi, C. The Coronation of Poppea, Act I    
[01:22:49]

Monteverdi, C. The Coronation of Poppea, Act II    
[58:31]

Cast: POPPEA: Janet Baker, mezz; NERO: Robert Ferguson, ten; OTTAVIA: Katherine Pring, mezz; SENECA: Clifford Grant, bass; OTTONE: Tom McDonnell, bar; DRUSILLA: Barbara Walker, sop // Sadlers Wells Opera Ch & O/Raymond Leppard.
Chandos CHAN 3172(2) [00:20]

Rome, AD64. Poppea, mistress of the Emperor Nero, elicits a promise that he will repudiate his wife Ottavia to make Poppea the Empress. Seneca, upholder of the ancient virtues, urges Ottavia to show restraint and dignity. He is warned by the Goddess of Wisdom that he will die if he interferes in the matter. When Nero reveals his plan to depose Ottavia in favour of Poppea, Seneca’s calm remonstrations incite him to hysterical anger. Poppea insinuates the idea into Nero’s mind that Seneca must die. The Emperor orders Seneca’s death.
Ottavia, unable to bear the indignity of the situation, orders Ottone to kill Poppea. He, having found new love with Drusilla, involves her in the plot. Amor, God of Love, stays Ottone’s hand as he is about to kill Poppea. Ottone escapes but Drusilla is arrested. Both are exiled and Nero announces the banishment of Ottavia. The coronation of Poppea follows with the Tribunes and Consuls of Rome paying homage. The opera ends with Poppea and Nero singing of their love.

Monteverdi, C. Ecco pur ch'a voi ritorno, ballo, from L'Orfeo (1607).    Patrizia Kwella, sop; Anthony Rolfe-Johnson, ten; Lawrence Dale, ten; Alan Woodrow, ten // Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner.
Erato 2292-45984-2 [05:31]

Monteverdi, C. Illustratevi, o cieli, from The return of Ulysses (1641).    Bernarda Fink, mezz; Concerto Vocale/René Jacobs.
Harmonia Mundi HMX 2908150.52 [03:55]

Cavalli, F. Ardo, sospiro e piango, from La Calisto (1652).    Janet Baker, mezz; London PO/Raymond Leppard.
Decca 476 7091 [04:32]





Followed by MUSIC OF THE NIGHT
Prepared and presented by James Nightingale

El Khoury, B. Poème nocturne, op 80 (2009).    Vincent Prats, fl; Paris O/Eivind Gullberg Jensen.
Naxos 8.573617 [18:34]

Helps, R. Nocturne (1973).    Alan Feinberg, pf.
Argo 430 330-2 [08:52]

Grandage, I. Black dogs (2008).    Dale Bartrop, vn; Francesca Hiew, vn; Stephen King, va; Sharon Grigoryan, vc; Slava Grigoryan, gui.
ABC 481 5428 [16:09]

Mellnäs, A. L’Infinito (1982).    Swedish Radio Choir/Eric Ericson.
Phono Suecia PS 22 [10:31]

AT THE OPERA Imperial Rome Prepared and presented by Peter Poole
Monteverdi, C. The Coronation of Poppea.    Opera in Sinfonia, prologue and two acts. Libretto by Giovanni Busenello. First performed Venice, 1642. [00:20] Monteverdi, C. The Coronation of Poppea, Sinfonia and Prologue     [10:11] Monteverdi, C. The Coronation of Poppea, Act I     [01:22:49] Monteverdi, C. The Coronation of Poppea, Act II     [58:31] Cast: POPPEA: Janet Baker, mezz; NERO: Robert Ferguson, ten; OTTAVIA: Katherine Pring, mezz; SENECA: Clifford Grant, bass; OTTONE: Tom McDonnell, bar; DRUSILLA: Barbara Walker, sop // Sadlers Wells Opera Ch &amp; O/Raymond Leppard. Chandos CHAN 3172(2) [00:20] Rome, AD64. Poppea, mistress of the Emperor Nero, elicits a promise that he will repudiate his wife Ottavia to make Poppea the Empress. Seneca, upholder of the ancient virtues, urges Ottavia to show restraint and dignity. He is warned by the Goddess of Wisdom that he will die if he interferes in the matter. When Nero reveals his plan to depose Ottavia in favour of Poppea, Seneca’s calm remonstrations incite him to hysterical anger. Poppea insinuates the idea into Nero’s mind that Seneca must die. The Emperor orders Seneca’s death. Ottavia, unable to bear the indignity of the situation, orders Ottone to kill Poppea. He, having found new love with Drusilla, involves her in the plot. Amor, God of Love, stays Ottone’s hand as he is about to kill Poppea. Ottone escapes but Drusilla is arrested. Both are exiled and Nero announces the banishment of Ottavia. The coronation of Poppea follows with the Tribunes and Consuls of Rome paying homage. The opera ends with Poppea and Nero singing of their love. Monteverdi, C. Ecco pur ch'a voi ritorno, ballo, from L'Orfeo (1607).    Patrizia Kwella, sop; Anthony Rolfe-Johnson, ten; Lawrence Dale, ten; Alan Woodrow, ten // Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner. Erato 2292-45984-2 [05:31] Monteverdi, C. Illustratevi, o cieli, from The return of Ulysses (1641).    Bernarda Fink, mezz; Concerto Vocale/René Jacobs. Harmonia Mundi HMX 2908150.52 [03:55] Cavalli, F. Ardo, sospiro e piango, from La Calisto (1652).    Janet Baker, mezz; London PO/Raymond Leppard. Decca 476 7091 [04:32] 
 
Followed by MUSIC OF THE NIGHT Prepared and presented by James Nightingale
El Khoury, B. Poème nocturne, op 80 (2009).    Vincent Prats, fl; Paris O/Eivind Gullberg Jensen. Naxos 8.573617 [18:34] Helps, R. Nocturne (1973).    Alan Feinberg, pf. Argo 430 330-2 [08:52] Grandage, I. Black dogs (2008).    Dale Bartrop, vn; Francesca Hiew, vn; Stephen King, va; Sharon Grigoryan, vc; Slava Grigoryan, gui. ABC 481 5428 [16:09] Mellnäs, A. L’Infinito (1982).    Swedish Radio Choir/Eric Ericson. Phono Suecia PS 22 [10:31]

A tradition of 40 years and more, At the Opera brings you favourite and lesser-known operas, in full.

A tradition of 40 years and more, At the Opera brings you favourite and lesser-known operas, in full.

At the Opera

At the Opera 12 June 2024 - The Coronation of Poppea, by Monteverdi, C.

 AT THE OPERA
Love triumphs, Part 2
Prepared and presented by Ian MacDonald

Rossini, G. The barber of Seville. Opera in two acts. Libretto by Cesare Sterbini, after Beaumarchais' Le Barbier de Séville. First performed Rome, 1816.    

Rossini, G. The barber of Seville, Act I    
[01:32:17]

Rossini, G. The barber of Seville, Act II    
[46:02]

    COUNT ALMAVIVA: Luigi Alva, ten
ROSINA: Teresa Berganza, mezz
DOCTOR BARTOLO: Enzo Dara, bar
FIGARO: Hermann Prey, bar
Ambrosian Opera Ch; London SO/Claudio Abbado.Total Time: 2:18:19 
DG 415 695-2 

    Count Almaviva, disguised as a servant Lindoro, serenades his love Rosina, the ward of Dr Bartolo, who plans to marry her for her dowry. His barber, Figaro, suggests that he get into Bartolo’s house by disguising himself as a soldier. He fails in this attempt but returns as assistant to Basilio, the singing-master. He shows Bartolo a letter supposedly to Almaviva from a mistress, which Bartolo thinks will inflame Rosina’s jealousy. She is upset but Almaviva reveals his true identity and his constancy and, with Figaro’s help, they elope before Bartolo discovers that he has been tricked. 

Rossini, G. Introduction; Aria; Duet, from Stabat Mater (1842).    Helen Field, sop; Della Jones, mezz; Arthur Davies, ten; Roderick Earl, bass; London Symphony Ch; City of Londond Sinfonia/Richard Hickox. 
Chandos CHAN 8780 [21:10]

Rossini, G. Comic duet for two cats (1816).    Elisabeth Söderström, sop; Kerstin Meyer, mezz; Jan Eyron, pf. 
BIS CD-17 [03:42]

Rossini, G. La regata Veneziana (c.1850)    Rossini, G. 
BIS CD-17 [04:19]



23:00 MUSIC OF THE NIGHT
Staying in Seville
Prepared and presented by Dan Bickel

Albéniz, I. Sevilla, from Suite española, op 47 (1886; arr. Barrueco).    Andrew Blanch, gui. 
www.andrewblanch.com AB 2015 [05:43]

Turina, J. Women of Seville, op 89 (1935).    Jordi Masó, pf. 
Naxos 8.557684 [12:56]

Turina, J. Canto a Sevilla, op 37 (1927).    Maria Espanada, sop; BBC PO/Juanjo Mena. 
Chandos CHAN 10819 [37:19]

AT THE OPERA Love triumphs, Part 2 Prepared and presented by Ian MacDonald
Rossini, G. The barber of Seville. Opera in two acts. Libretto by Cesare Sterbini, after Beaumarchais' Le Barbier de S&eacute;ville. First performed Rome, 1816. &nbsp;&nbsp; Rossini, G. The barber of Seville, Act I &nbsp;&nbsp; [01:32:17] Rossini, G. The barber of Seville, Act II &nbsp;&nbsp; [46:02] &nbsp;&nbsp; COUNT ALMAVIVA: Luigi Alva, ten ROSINA: Teresa Berganza, mezz DOCTOR BARTOLO: Enzo Dara, bar FIGARO: Hermann Prey, bar Ambrosian Opera Ch; London SO/Claudio Abbado.Total Time: 2:18:19 DG 415 695-2 &nbsp;&nbsp; Count Almaviva, disguised as a servant Lindoro, serenades his love Rosina, the ward of Dr Bartolo, who plans to marry her for her dowry. His barber, Figaro, suggests that he get into Bartolo&rsquo;s house by disguising himself as a soldier. He fails in this attempt but returns as assistant to Basilio, the singing-master. He shows Bartolo a letter supposedly to Almaviva from a mistress, which Bartolo thinks will inflame Rosina&rsquo;s jealousy. She is upset but Almaviva reveals his true identity and his constancy and, with Figaro&rsquo;s help, they elope before Bartolo discovers that he has been tricked. Rossini, G. Introduction; Aria; Duet, from Stabat Mater (1842). &nbsp;&nbsp; Helen Field, sop; Della Jones, mezz; Arthur Davies, ten; Roderick Earl, bass; London Symphony Ch; City of Londond Sinfonia/Richard Hickox. Chandos CHAN 8780 [21:10] Rossini, G. Comic duet for two cats (1816). &nbsp;&nbsp; Elisabeth S&ouml;derstr&ouml;m, sop; Kerstin Meyer, mezz; Jan Eyron, pf. BIS CD-17 [03:42] Rossini, G. La regata Veneziana (c.1850) &nbsp;&nbsp; Rossini, G. BIS CD-17 [04:19] 
23:00 MUSIC OF THE NIGHT Staying in Seville Prepared and presented by Dan Bickel
Alb&eacute;niz, I. Sevilla, from Suite espa&ntilde;ola, op 47 (1886; arr. Barrueco). &nbsp;&nbsp; Andrew Blanch, gui. www.andrewblanch.com AB 2015 [05:43] Turina, J. Women of Seville, op 89 (1935). &nbsp;&nbsp; Jordi Mas&oacute;, pf. Naxos 8.557684 [12:56] Turina, J. Canto a Sevilla, op 37 (1927). &nbsp;&nbsp; Maria Espanada, sop; BBC PO/Juanjo Mena. Chandos CHAN 10819 [37:19]

At the Opera  18 February 2026

 AT THE OPERA
Myths, legends and fantasy, Part 2
Prepared by Elaine Siversen
With Jules Laurent

Handel, G. Alcina, HWV34. Opera in three acts. Anonymous libretto after Ludovico Ariosto’s epic poem Orlando Furioso used by Riccardo Broschi for his 1728 opera L’isola di Alcina. First performed London, 1735.    

Handel, G. Alcina, Overture & Act I    
[49:43]

Handel, G. Alcina, Act II    
[59:33]

Handel, G. Alcina, Act III    
[42:40]

    BRADAMANTE: Norma Procter, cont
MELISSO: Thomas Hemsley, bar
ALCINA: Joan Sutherland, sop
RUGGIERO: Fritz Wunderlich, ten
MORGANA: Jeannette van Dijck, sop
ORONTE: Nicola Monti, ten
Cologne Radio Choir; Cappella Coloniensis/Ferdinand Leitner.Total Time: 2:31:56 
DG 477 8017 

    Bradamante, disguised as her brother, Ricciardo, with her tutor, Melisso, have been shipwrecked and cast ashore on Alcina’s enchanted island. Bradamante is searching for her betrothed, Ruggiero. They meet Morgana, Alcina's sister, who falls in love with the disguised Bradamante. She takes them to Alcina where Ruggiero is present. Later Bradamante confronts him. He recognises her as Ricciardo but denies any interest in Ricciardo's sister because he is the faithful lover of Alcina.
Oronte, Alcina's commander-in-chief, who loves Morgana, is jealous of ‘Ricciardo’ and decides to make Ruggiero jealous too. He concocts a tale that Alcina now loves ‘Ricciardo’ and will no doubt soon add Ruggiero to her collection of discarded lovers now transformes into monsters. Alcina assures Ruggiero that her feelings are unchanged.
Melisso, disguised as Ruggiero's tutor, Atlante, gives him a magic ring which brings him to his senses. Ruggiero wishes to send a message of defiance to Alcina, but Melisso advises him to pretend that he still loves her and to make his escape. When Alcina is told that Ruggiero is planning to flee, she begins to make spells to bind Ruggiero to her but cannot overcome her feelings for him.
Other travellers have been shipwrecked and have been changed into wild beasts, trees or stones by Alcina. Melisso tells Bradamante that the island is surrrounded by Alcina's enchanted monsters and advises Ruggiero to take the Gorgonian shield and the winged horse to help him conquer them. Alcina’s forces are defeated and Ruggiero smashes the urn that holds Alcina's secret power. All her spells are broken and the rocks, trees and beasts resume their human shapes. They rejoice at their liberty and all celebrate the triumph of love. 

Handel, G. Da tempeste il legno infranto, from Giulio Cesare, HWV17 (1724).    Joan Sutherland, sop; Hubert Dawkes, hpd; New SO of London/Richard Bonynge. 
Decca 482 4759 [05:23]

Handel, G. Let the bright seraphim, from Samson, HWV57 (1743).    Joan Sutherland, sop; Harry Dilley, tpt; Royal Opera House O, Covent Garden/Francesco Molinari Pradelli. 
Decca 482 4759 [05:52]



23:00 MUSIC OF THE NIGHT
More Handel ...
Prepared and presented by Dan Bickel

Handel, G. Love in Bath (arr. Beecham).    Royal PO/Thomas Beecham. 
EMI CDM 7 63374 2 [47:32]

Handel, G. Oboe concerto in G minor (1705).    Bart Schneeman, ob; Musica Amphion/Pieter-Jan Belder. 
Channel Classics CCS SA 29209 [08:36]

AT THE OPERA Myths, legends and fantasy, Part 2 Prepared by Elaine Siversen With Jules Laurent
Handel, G. Alcina, HWV34. Opera in three acts. Anonymous libretto after Ludovico Ariosto&rsquo;s epic poem Orlando Furioso used by Riccardo Broschi for his 1728 opera L&rsquo;isola di Alcina. First performed London, 1735. &nbsp;&nbsp; Handel, G. Alcina, Overture &amp; Act I &nbsp;&nbsp; [49:43] Handel, G. Alcina, Act II &nbsp;&nbsp; [59:33] Handel, G. Alcina, Act III &nbsp;&nbsp; [42:40] &nbsp;&nbsp; BRADAMANTE: Norma Procter, cont MELISSO: Thomas Hemsley, bar ALCINA: Joan Sutherland, sop RUGGIERO: Fritz Wunderlich, ten MORGANA: Jeannette van Dijck, sop ORONTE: Nicola Monti, ten Cologne Radio Choir; Cappella Coloniensis/Ferdinand Leitner.Total Time: 2:31:56 DG 477 8017 &nbsp;&nbsp; Bradamante, disguised as her brother, Ricciardo, with her tutor, Melisso, have been shipwrecked and cast ashore on Alcina&rsquo;s enchanted island. Bradamante is searching for her betrothed, Ruggiero. They meet Morgana, Alcina's sister, who falls in love with the disguised Bradamante. She takes them to Alcina where Ruggiero is present. Later Bradamante confronts him. He recognises her as Ricciardo but denies any interest in Ricciardo's sister because he is the faithful lover of Alcina. Oronte, Alcina's commander-in-chief, who loves Morgana, is jealous of &lsquo;Ricciardo&rsquo; and decides to make Ruggiero jealous too. He concocts a tale that Alcina now loves &lsquo;Ricciardo&rsquo; and will no doubt soon add Ruggiero to her collection of discarded lovers now transformes into monsters. Alcina assures Ruggiero that her feelings are unchanged. Melisso, disguised as Ruggiero's tutor, Atlante, gives him a magic ring which brings him to his senses. Ruggiero wishes to send a message of defiance to Alcina, but Melisso advises him to pretend that he still loves her and to make his escape. When Alcina is told that Ruggiero is planning to flee, she begins to make spells to bind Ruggiero to her but cannot overcome her feelings for him. Other travellers have been shipwrecked and have been changed into wild beasts, trees or stones by Alcina. Melisso tells Bradamante that the island is surrrounded by Alcina's enchanted monsters and advises Ruggiero to take the Gorgonian shield and the winged horse to help him conquer them. Alcina&rsquo;s forces are defeated and Ruggiero smashes the urn that holds Alcina's secret power. All her spells are broken and the rocks, trees and beasts resume their human shapes. They rejoice at their liberty and all celebrate the triumph of love. Handel, G. Da tempeste il legno infranto, from Giulio Cesare, HWV17 (1724). &nbsp;&nbsp; Joan Sutherland, sop; Hubert Dawkes, hpd; New SO of London/Richard Bonynge. Decca 482 4759 [05:23] Handel, G. Let the bright seraphim, from Samson, HWV57 (1743). &nbsp;&nbsp; Joan Sutherland, sop; Harry Dilley, tpt; Royal Opera House O, Covent Garden/Francesco Molinari Pradelli. Decca 482 4759 [05:52] 
23:00 MUSIC OF THE NIGHT More Handel ... Prepared and presented by Dan Bickel
Handel, G. Love in Bath (arr. Beecham). &nbsp;&nbsp; Royal PO/Thomas Beecham. EMI CDM 7 63374 2 [47:32] Handel, G. Oboe concerto in G minor (1705). &nbsp;&nbsp; Bart Schneeman, ob; Musica Amphion/Pieter-Jan Belder. Channel Classics CCS SA 29209 [08:36]

At the Opera  11 February 2026

AT THE OPERA
Premiere Anniversaries, Part 2
Prepared and presented by Camille Mercep

Schuster, J. Demoföonte. Opera in three acts. Libretto by Pietro Metastasio. First performed Forli, summer of 1776.    

Schuster, J. Demoföonte, Act I    
[01:06:03]

Schuster, J. Demoföonte, Act II    
[46:42]

Schuster, J. Demoföonte, Act III    
[26:22]

    DEMOFÖONTE:: Andreas Post, ten
MATUSIO: Jan Kobow, ten
DIRCEA: Dorothee Mields, sop
TIMANTE: Jörg Waschinski, ct
CREUSA: Marie Melnitzki, sop
CHERINTO: Werner Buchin, ct
La Ciaccona/Ludger Rémy.Total Time: 2:19:07 
Harmonia Mundi 98282 2 

    Demophon, King of Thrace, asks the oracle how long the custom of the annual sacrifice of a virgin is to continue. The reply is that it must occur every year that an ‘innocent usurper’ sits on the throne. Demophon’s minister, Matusio, does not know that his daughter, Dircea, has secretly married the king’s elder son, Timante, and borne him a child. Equally ignorant of this, the king decrees that Dircea will be sacrificed. Demophon has chosen a foreign princess, Creusa, as the bride for Timante. She is on her way to Thrace accompanied by Timante’s younger brother, Cherinto, who falls in love with Creusa. When they arrive in Thrace, Timante tells Creusa that he can’t marry her but gives no reason. Enraged, Creusa urges Cherinto to kill Timante in revenge. Dircea is seized by guards and taken to the place of sacrifice. Timante and his followers attempt to liberate Dircea but Timante is taken prisoner. He confesses that he has married Dircea and that they have a son. 
Cherinto tells Timante that Creusa has persuaded Demophon to grant him and Dircea a pardon. Timante renounces his claim to the throne in favour of Cherinto, thus enabling him to marry Creusa. However, Matusio reveals that Dircea is Demophon’s daughter, thereby invalidating her marriage to Timante. A distraught Timante renounces his wife and son before a document is produced that declares that his father is not Demophon but Matusio. Hence Timante and Dircea were free to marry and Cherinto is the legitimate heir to the kingdom (and free to marry Creusa). As Timante is no longer the ‘innocent usurper’, the sacrificial tradition can also cease. 

Mozart, W. Biancheggia, from Il sogno di Scipione, K126 (1772).    Christiane Karg, sop; Arcangelo/Jonathan Cohen. 
Berlin Classics 0300389BC [07:14]

Haydn, J. Overture to L’isola disabitata, Hob.Ia:13 (1779).    Haydn Sinfonietta, Vienna/Manfred Huss. 
Schwann 3-1484-2 [07:15]

Mozart, W. L'amerò, sarò costante, from Il re pastore, K208 (1775).    Yvonne Kenny, sop; Australian CO/Richard Tognetti. 
Sony SK 66282 [06:30]



23:00 MUSIC OF THE NIGHT
Prepared by Paul Cooke
With Nena Beretin

Joubert, J. Sinfonietta, op 38 (1962).    Paul Arden-Taylor, ob; Anna Evans, ob; Keith Rubach, bn; Christine Predota, bn; Stephen Roberts, hn; James Buck, hn; English String O/William Boughton. 
Naxos 8.571368 [17:38]

Pépin, C. Les eaux célestes (2023).    BBC SO/Jader Bignamini. 
BBC Music Magazine BBCMM511 [09:04]

Sandström, J. En Herrgårdssägen (1987-2004).    Iceland SO/Christian Lindberg. 
BIS CD-1748 [27:03]

AT THE OPERA Premiere Anniversaries, Part 2 Prepared and presented by Camille Mercep
Schuster, J. Demof&ouml;onte. Opera in three acts. Libretto by Pietro Metastasio. First performed Forli, summer of 1776. &nbsp;&nbsp; Schuster, J. Demof&ouml;onte, Act I &nbsp;&nbsp; [01:06:03] Schuster, J. Demof&ouml;onte, Act II &nbsp;&nbsp; [46:42] Schuster, J. Demof&ouml;onte, Act III &nbsp;&nbsp; [26:22] &nbsp;&nbsp; DEMOF&Ouml;ONTE:: Andreas Post, ten MATUSIO: Jan Kobow, ten DIRCEA: Dorothee Mields, sop TIMANTE: J&ouml;rg Waschinski, ct CREUSA: Marie Melnitzki, sop CHERINTO: Werner Buchin, ct La Ciaccona/Ludger R&eacute;my.Total Time: 2:19:07 Harmonia Mundi 98282 2 &nbsp;&nbsp; Demophon, King of Thrace, asks the oracle how long the custom of the annual sacrifice of a virgin is to continue. The reply is that it must occur every year that an &lsquo;innocent usurper&rsquo; sits on the throne. Demophon&rsquo;s minister, Matusio, does not know that his daughter, Dircea, has secretly married the king&rsquo;s elder son, Timante, and borne him a child. Equally ignorant of this, the king decrees that Dircea will be sacrificed. Demophon has chosen a foreign princess, Creusa, as the bride for Timante. She is on her way to Thrace accompanied by Timante&rsquo;s younger brother, Cherinto, who falls in love with Creusa. When they arrive in Thrace, Timante tells Creusa that he can&rsquo;t marry her but gives no reason. Enraged, Creusa urges Cherinto to kill Timante in revenge. Dircea is seized by guards and taken to the place of sacrifice. Timante and his followers attempt to liberate Dircea but Timante is taken prisoner. He confesses that he has married Dircea and that they have a son. Cherinto tells Timante that Creusa has persuaded Demophon to grant him and Dircea a pardon. Timante renounces his claim to the throne in favour of Cherinto, thus enabling him to marry Creusa. However, Matusio reveals that Dircea is Demophon&rsquo;s daughter, thereby invalidating her marriage to Timante. A distraught Timante renounces his wife and son before a document is produced that declares that his father is not Demophon but Matusio. Hence Timante and Dircea were free to marry and Cherinto is the legitimate heir to the kingdom (and free to marry Creusa). As Timante is no longer the &lsquo;innocent usurper&rsquo;, the sacrificial tradition can also cease. Mozart, W. Biancheggia, from Il sogno di Scipione, K126 (1772). &nbsp;&nbsp; Christiane Karg, sop; Arcangelo/Jonathan Cohen. Berlin Classics 0300389BC [07:14] Haydn, J. Overture to L&rsquo;isola disabitata, Hob.Ia:13 (1779). &nbsp;&nbsp; Haydn Sinfonietta, Vienna/Manfred Huss. Schwann 3-1484-2 [07:15] Mozart, W. L'amer&ograve;, sar&ograve; costante, from Il re pastore, K208 (1775). &nbsp;&nbsp; Yvonne Kenny, sop; Australian CO/Richard Tognetti. Sony SK 66282 [06:30] 
23:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin
Joubert, J. Sinfonietta, op 38 (1962). &nbsp;&nbsp; Paul Arden-Taylor, ob; Anna Evans, ob; Keith Rubach, bn; Christine Predota, bn; Stephen Roberts, hn; James Buck, hn; English String O/William Boughton. Naxos 8.571368 [17:38] P&eacute;pin, C. Les eaux c&eacute;lestes (2023). &nbsp;&nbsp; BBC SO/Jader Bignamini. BBC Music Magazine BBCMM511 [09:04] Sandstr&ouml;m, J. En Herrg&aring;rdss&auml;gen (1987-2004). &nbsp;&nbsp; Iceland SO/Christian Lindberg. BIS CD-1748 [27:03]

At the Opera 12 June 2024 - The Coronation of Poppea, by Monteverdi, C.

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