2:30 pm - Saturday Matinee

3:30 pm - Saturday Matinee

4:30 pm - Saturday Matinee

SATURDAY MATINEE
Orchestral grandeur
Prepared by Jacky Ternisien
With Stephen Gard

Chabrier, E. España (1883).    Suisse Romande O/Ernest Ansermet.
Decca 452 890-2 [07:02]

Bizet, G. Suite from Carmen (1873-74).    Ulster O/Yan Pascal Tortelier.
Chandos CHAN 6600 [32:30]

Lalo, E. Symphonie espagnole, op 21 (1875).    Sarah Chang, vn; Royal Concertgebouw O/Charles Dutoit.
EMI 5 55292 2 [32:34]

Halffter, E. Soundtrack: Carmen (1926).    Frankfurt RSO/Mark Fitz-Gerald.
Naxos 8.572260 [01:06:56]

SATURDAY MATINEE Orchestral grandeur Prepared by Jacky Ternisien With Stephen Gard
Chabrier, E. España (1883).    Suisse Romande O/Ernest Ansermet. Decca 452 890-2 [07:02] Bizet, G. Suite from Carmen (1873-74).    Ulster O/Yan Pascal Tortelier. Chandos CHAN 6600 [32:30] Lalo, E. Symphonie espagnole, op 21 (1875).    Sarah Chang, vn; Royal Concertgebouw O/Charles Dutoit. EMI 5 55292 2 [32:34] Halffter, E. Soundtrack: Carmen (1926).    Frankfurt RSO/Mark Fitz-Gerald. Naxos 8.572260 [01:06:56]

Operetta, Oratorio and major Symphonic music featured in special programs to entertain on Saturday afternoons

Operetta, Oratorio and major Symphonic music featured in special programs to entertain on Saturday afternoons

Saturday Matinee

Saturday Matinee 1June2024

SATURDAY MATINÉE
Choral masterworks
Prepared by Elaine Siversen
With Peter Poole

Handel, G. Pastoral ode: L'Allegro, il penseroso ed il moderato, HWV55 (1740).    Michael Ginn, treb; Patrizia Kwella, sop; Marie McLaughlin, sop; Jennifer Smith, sop; Maldwyn Davies, ten; Martyn Hill, ten; Stephen Varcoe, bass; Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner. 
Erato 2292-45377-2 [01:55:23]

Handel, G. Chandos anthem no 5: I will magnify thee, HWV250 (1717-18)T    Lynne Dawson, sop; Ian Partridge, ten; The Sixteen Ch & O/Harry Christophers. 
Chandos CHAN 0504 [23:20]

SATURDAY MATINÉE Choral masterworks Prepared by Elaine Siversen With Peter Poole
Handel, G. Pastoral ode: L'Allegro, il penseroso ed il moderato, HWV55 (1740).    Michael Ginn, treb; Patrizia Kwella, sop; Marie McLaughlin, sop; Jennifer Smith, sop; Maldwyn Davies, ten; Martyn Hill, ten; Stephen Varcoe, bass; Monteverdi Choir; English Baroque Soloists/John Eliot Gardiner. Erato 2292-45377-2 [01:55:23] Handel, G. Chandos anthem no 5: I will magnify thee, HWV250 (1717-18)T    Lynne Dawson, sop; Ian Partridge, ten; The Sixteen Ch &amp; O/Harry Christophers. Chandos CHAN 0504 [23:20]

Saturday Matinee 22June2024

SATURDAY MATINÉE
At the ballet
Prepared by Paul Cooke
With Brian Drummond

Tcherepnin, N. Fantastic ballet: Le pavillon d’Armide (1906).    Moscow SO/Henry Shek.
Naxos 8.573657 [01:07:04]

Borodin, A. Polovtsian dances, from Prince Igor (1887).    Sydney SO/Stuart Challender.
ABC 434 717-2 [10:28]

Schumann, R. Carnaval, op 9 (1834-45; arr. Glazunov and others).    Suisse Romande O/Ernest Ansermet.
Decca 480 0038 [26:43]

Stravinsky, I. Suite, from Petrushka (1911-47).    Columbia SO/Igor Stravinsky.
Sony SM3K 46 291-302 [24:07]

Weber, C.M. Invitation to the dance, op 65 (1819; orch. Berlioz).    London SO/Charles Mackerras.
ABC 480 6403 [10:08]

SATURDAY MATINÉE At the ballet Prepared by Paul Cooke With Brian Drummond
Tcherepnin, N. Fantastic ballet: Le pavillon d’Armide (1906).    Moscow SO/Henry Shek. Naxos 8.573657 [01:07:04] Borodin, A. Polovtsian dances, from Prince Igor (1887).    Sydney SO/Stuart Challender. ABC 434 717-2 [10:28] Schumann, R. Carnaval, op 9 (1834-45; arr. Glazunov and others).    Suisse Romande O/Ernest Ansermet. Decca 480 0038 [26:43] Stravinsky, I. Suite, from Petrushka (1911-47).    Columbia SO/Igor Stravinsky. Sony SM3K 46 291-302 [24:07] Weber, C.M. Invitation to the dance, op 65 (1819; orch. Berlioz).    London SO/Charles Mackerras. ABC 480 6403 [10:08]

Saturday Matinee 15June2024

 SATURDAY MATINÉE
Operetta in the afternoon
Prepared by Elaine Siversen
With Jules Laurent

Lehár, F. Friederike. Operetta in three acts. Libretto by Ludwig Herzer and Fritz Löhner. First performed Berlin, 1928.   

Lehár, F. Friederike, Overture & Act I   
[41:37]

Lehár, F. Friederike, Act II   
[41:38]

Lehár, F. Friederike, Act III   
[11:51]

   FRIEDERIKE: Helen Donath, sop
JOHANN WOLFGANG GOETHE: Adolf Dallapozza, ten
JAKOB LENZ: Martin Finke, ten
CAPTAIN KNEBEL: Jürgen von Pawels, bar
DUKE OF SAXE-WEIMAR: Harry Kalenberg, voice
SALOMEA: Gabriele Fuchs, sop
Bavarian Radio Choir; Munich RO/Heinz Wallberg.
Warner Classics 5054196055127 [01:35:06]

   Friederike exchanges expressions of love with Johann Wolfgang Goethe. He is a student at Strasbourg University but another student, Jakob Lenz, warns Friederike of the danger of loving Goethe who is known to flit from one girl to another. Goethe reassures her that, for all the attention he gets from the other young ladies, it is to her that his heart is truly given. He has been offered a post as poet at the Court of Weimar. When Captain Knebel arrives to accompany Goethe to his new position at Weimar, he reveals that Goethe's predecessor at court had lost his post because the pressures of family life had restricted his creativity. The Duke of Saxe-Weimar is determined to have a bachelor as his poet. Goethe tells Knebel that he is no longer interested but, when he tells Friederike of his decision, she knows that she cannot allow him to make such a sacrifice and pretends to be indifferent to him. Goethe is shocked and tells Knebel that he will, after all, accept the Weimar appointment.
Eight years have passed and Friederike has remained single despite the attentions of the faithful Jakob. He comes to try to cheer her but she brushes him aside, telling him that any woman who has loved Goethe, cannot love anyone else. Jakob turns his attention to Friedericke’s sister, Salomea. Then Goethe returns, passing through the village with the Duke of Saxe-Weimar. He tells the Duke that this was the place where he spent the happiest hours of his life. Friederike is overjoyed to see him but Goethe finally realises the truth of the sacrifice that Friederike made for him. His duties mean that he must move on, this time for good. At least, through his writings, Goethe will now belong to the whole world, and thus also to Friederike.

Lehár, F. Excerpts from The Count of Luxemburg (1909).    ORTF soloists, Ch & Lyrique O/Adolphe Sibert.
Naxos 8.111010 [25:12]

Lehár, F. Excerpts from Giuditta (1934).    ORTF soloists, Ch & Lyrique O/Adolphe Sibert.
Naxos 8.111010 [13:39]

SATURDAY MATINÉE Operetta in the afternoon Prepared by Elaine Siversen With Jules Laurent
Lehár, F. Friederike. Operetta in three acts. Libretto by Ludwig Herzer and Fritz Löhner. First performed Berlin, 1928.    Lehár, F. Friederike, Overture &amp; Act I    [41:37] Lehár, F. Friederike, Act II    [41:38] Lehár, F. Friederike, Act III    [11:51]    FRIEDERIKE: Helen Donath, sop JOHANN WOLFGANG GOETHE: Adolf Dallapozza, ten JAKOB LENZ: Martin Finke, ten CAPTAIN KNEBEL: Jürgen von Pawels, bar DUKE OF SAXE-WEIMAR: Harry Kalenberg, voice SALOMEA: Gabriele Fuchs, sop Bavarian Radio Choir; Munich RO/Heinz Wallberg. Warner Classics 5054196055127 [01:35:06]    Friederike exchanges expressions of love with Johann Wolfgang Goethe. He is a student at Strasbourg University but another student, Jakob Lenz, warns Friederike of the danger of loving Goethe who is known to flit from one girl to another. Goethe reassures her that, for all the attention he gets from the other young ladies, it is to her that his heart is truly given. He has been offered a post as poet at the Court of Weimar. When Captain Knebel arrives to accompany Goethe to his new position at Weimar, he reveals that Goethe's predecessor at court had lost his post because the pressures of family life had restricted his creativity. The Duke of Saxe-Weimar is determined to have a bachelor as his poet. Goethe tells Knebel that he is no longer interested but, when he tells Friederike of his decision, she knows that she cannot allow him to make such a sacrifice and pretends to be indifferent to him. Goethe is shocked and tells Knebel that he will, after all, accept the Weimar appointment. Eight years have passed and Friederike has remained single despite the attentions of the faithful Jakob. He comes to try to cheer her but she brushes him aside, telling him that any woman who has loved Goethe, cannot love anyone else. Jakob turns his attention to Friedericke’s sister, Salomea. Then Goethe returns, passing through the village with the Duke of Saxe-Weimar. He tells the Duke that this was the place where he spent the happiest hours of his life. Friederike is overjoyed to see him but Goethe finally realises the truth of the sacrifice that Friederike made for him. His duties mean that he must move on, this time for good. At least, through his writings, Goethe will now belong to the whole world, and thus also to Friederike. Lehár, F. Excerpts from The Count of Luxemburg (1909).    ORTF soloists, Ch &amp; Lyrique O/Adolphe Sibert. Naxos 8.111010 [25:12] Lehár, F. Excerpts from Giuditta (1934).    ORTF soloists, Ch &amp; Lyrique O/Adolphe Sibert. Naxos 8.111010 [13:39]

Saturday Matinee 1June2024

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