Vivica Genaux

New York Baroque Incorporated

Vivica Genaux, mezzo-soprano

Sun, June 30, 4:00pm

$10.00, $87.00, $66.00, $56.00, $47.00, $36.00, $30.00, $0.00, $87.00, $33.00, $28.00, $23.50, $18.00, $15.00

Overview

American mezzo-soprano Vivica Genaux has a rich history with Caramoor, having first come to the attention of NY audiences and critics with her performance in Rossini’s La Cenerentola here in 1996. Now, for the first time since 2009, she is back in the Venetian Theater with the dynamic, conductorless period-instrument orchestra, New York Baroque Incorporated. Genaux’s incredible command of coloratura shows off the vocal athleticism and emotional prowess which has made her one of the top operatic singers performing today. Join us for this rare US appearance by the mezzo-soprano in arias by Handel, Vivaldi, and Hasse.

Artists

New York Baroque Incorporated
Vivica Genaux, mezzo-soprano

Program

Corelli Concerto Grosso in D Major, Op. 6, No. 4
Handel “Brilla nell’alma un non inteso ancor” from Alessandro
Handel “Lascia la spina” from Il trionfo del Tempo e del Disinganno
Vivaldi Violin Concerto in F Minor, RV 297, “Winter”
Vivaldi “Gelido in ogni vena” from Farnace, RV 711
Hasse “Come nave in mezzo all’onde” from Viriate
— Intermission —
Geminiani Concerto Grosso in E Major, No. 11, H.142
Handel Armida abbandonata, HWV 105

 
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New York Baroque Incorporated

New York Baroque Incorporated

Artist Website Listen Watch

Hailed as “truly excellent” and “studded with stars in the making” (The New York Times), New York Baroque Incorporated (NYBI) is a conductorless orchestra of period instruments in New York City, bringing vital, informed, and fresh performances of a wide range of 17th and 18th-century repertoire, as well as creating a vibrant landscape for collaborations between historical performance and living composers. NYBI has collaborated with renowned soloists including Richard Egarr, Vivica Genaux, Monica Huggett, and has performed at Carnegie Hall, the Metropolitan Museum of Art, and Spoleto Festival USA. Striving to make period instruments a living art form, NYBI has premiered works by Nico Muhly, Hollis Taylor, and Huang Ruo. The orchestra also dedicates itself to bring to life unknown works of the Baroque, and has revived and presented modern-day premieres of Cavalli’s Veremonda (1652), Aliotti’s Santa Rosalia (1687), and Seckendorff’s Proserpina (1777).

The 2018–19 season will see NYBI launching a new 4-part series at Trinity’s St. Paul’s Chapel. Named Alchemy, each program is based on a classical element: water, air, earth, and fire. The orchestra returns to Saint Thomas Church for 3 concerts: the annual holiday tradition of Handel’s Messiah, as well Bach’s St. John Passion and an instrumental-only program of Vivaldi’s Spring, Handel’s organ concerto in B flat, and Brandenburg Concerto No. 5. NYBI is also making an exciting debut in its 7th season: at Carnegie as a part of Early Music in Weill Recital Hall with countertenor Jakub Józef Orliński.

 

Vivica Genaux

Vivica Genaux, mezzo-soprano

Artist Website  Watch

Recipient of Johann Adolf Hasse-Stiftung’s 2019 Hasse-Preis and the City of Halle’s 2017 Händel-Preis, mezzo-soprano Vivica Genaux hails from Fairbanks, Alaska. In the course of her two-decade career, her unforgettable voice has been heard in many of the world’s most important venues, including Beijing’s National Center for the Performing Arts, London’s Barbican Centre, New York’s Metropolitan Opera, Prague’s Rudolfinum, Madrid’s Teatro Real, Théâtre des Champs-Élysées in Paris, and Wiener Staatsoper.

Vivica welcomes 2019 with a pair of Farinelli-themed concerts with Concerto de’ Cavalieri in Antwerp and Valletta, followed by a concert with La magnifica comunità in Verona. February 2019 will find her first in Poissy and Bilbao for performances with Les Musiciens du Louvre and then in Karlsruhe for Internationale Händel-Festspiele’s Händel-Gala, in which she will be joined by mezzo-soprano Ann Hallenberg in a performance of music by Vivaldi, Händel, Rossini, and Bellini. In April 2019, she returns to Washington, DC, for her rôle début as Emma in Rossini’s Zelmira with Washington Concert Opera. From there, she travels to Madrid to revisit music sung by Farinelli.

A month later, in May 2019, Vivica takes a Vivaldi programme to Vienna’s Musikverein with Bach Consort Wien. Gender Stories, a presentation of music by Händel, Hasse, and Galuppi that unites her with countertenor Lawrence Zazzo and Lautten Compagney Berlin, will be heard in Dortmund and Halle. In June, she joins an ensemble of acclaimed colleagues for Farinelli & Friends, a gala concert at the Salzburger Pfingstfestspiele. Remaining in Austria, Vivica débuts in the rôle of Trasimede in Riccardo Broschi’s Merope at the Innsbrucker Festwochen der Alten Musik in August. She rejoins Europa Galante in September for a concert performance of Händel’s Lucio Cornelio Silla at Romania’s George Enescu Festival.

Vivica’s engagements in 2018 included Deux Génies en Italie, featuring music by Händel and Alessandro Scarlatti, at Paris’s Salle Gaveau and performances of her Pauline Viardot-themed multimedia show, Vivica & Viardot, in Spain and France. Additional concert dates took her throughout Europe, Asia, Mexico, and the USA. Returning to Händel’s operas, she interpreted the title rôle in Rodrigo at Beaune’s Festival International d’Opéra Baroque and Arsamene in Serse on tour with Il pomo d’oro. She traveled to Australia in December 2018 for her rôle début as Mandane in Hasse’s Artaserse and a concert with Pinchgut Opera.

During 2017, Vivica achieved several milestones in her career. In addition to her rôle débuts as Lepido and Arsamene in Händel’s Lucio Cornelio Silla and Serse and Eternità and Diana in Cavalli’s La Calisto and returning to the rôle of Malcolm in Rossini’s La donna del lago, Vivica founded V/vox Academy and supervised the Academy’s inaugural course.

Encompassing music from four centuries, Vivica’s operatic repertory extends to more than sixty roles, including more than forty travesti parts. Particularly celebrated for her interpretations of Baroque and bel canto music, she has garnered praise from critics and audiences for her incredible bravura technique and the dramatic intensity of her portrayals. She has been honored with numerous awards, and her career is documented in an array of critically-acclaimed audio and video recordings. Her advocacy of the music of Hasse has contributed indelibly to the revival of interest in this unjustly-neglected composer, and her enthusiasm for sharing her experience and expertise with young singers is manifested in masterclasses and teaching engagements throughout the world.