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Thursday, October 19, 2017, 12pm
Featuring Clea Galhano, recorder, Nerea Berraondo, mezzo soprano, Donald Livingston, harpsichord, Tulio Rondon, baroque cello & viola da gamba
Bartolomeo de Selma : Canzon a doi Basso e soprano
Henry Purcell: The Plaint “Let me Weep,” from Fairy Queen
Alessandro Stradella: Sinfonia
Giovanni E. Sances: Stabat Mater, a cura di Jolando Scarpa
G.F. Handel: Pensieri notturni di Filli (Recitative, Allegro, Recitative, Allegro)
About the Artists:
Nerea Berraondo has performed principal opera roles such as Adrastro and Creusa in Demofonte (Gluck) at Theatre an der Wien in Vienna; Lucio in Catone in Utica (Vivaldi) at Theatre des Champs Elysees in Paris; Ms. Berraondo has worked with early music conductors and orchestras including Eduardo López Banzo, Rinaldo Alessandrini, Alan Curtis, Marcelo di Lisa, Josetxu Obregón, Marian Rosa Montagut. Recently she has recorded Biagio Marini’s vocal music with her ensemble Aldatu on the Arsis recording label and Demofonte by Gluck with il Complesso Barocco conducted by Alan Curtis. Ms. Berraondo has won international prizes and competitions including Juventudes Musicales de España and Julián Gayarre International Singing Competition. In 2012 she was bestowed a Merit Award by the Centro Nacional de Difusión Musical (CNDM). She shared that season with soloists Ceclia Bartoli and Jordi Savall.
Donald Livingston is sought after for his performance on harpsichord, fortepiano, and organ, and collaborates with musicians from across the musical spectrum. Director of Ensemble Sprezzatura, and host of the HausMusik House Concerts series, he has been associate director of Consortium Carissimi and has performed with such ensembles as Bach Sinfonia (Washington DC), Musica Antigua (Panama City), La Donna Musicale (Boston), Lyra Baroque, the Bach Society of Minnesota, and Glorious Revolution Baroque, Minnesota Orchestra and the St. Paul Chamber Orchestra, as well as with soloists and collaborators Cléa Galhano, Maria Jette, Fernando Bustos, Immanuel Davis, Jacques Ogg, Elisabeth Wright, Joel Frederiksen, Barthold Kuijken, and Dame Emma Kirkby. He has sung as a member of the Rose Ensemble, and under the direction of Thomas Binkley and Paul Hillier. His current endeavors are focused on developing the Twin Cities Early Music Festival, which had its inaugural festival in 2014 and celebrated 2015 with three weeks of daily concerts that culminate in a performance of Gluck’s Orfeo ed Euridice (1762). He studied Early Keyboard at the Historical Performance Institute of the renown Jacobs School of Music at Indiana University, He is adjunct professor of harpsichord at Concordia University-St. Paul.
[icon color=”Accent-Color” size=”small” image=”icon-info-sign”] Concert Info
October through April
Thursdays from 12pm – 1pm
Courtroom 317, Landmark Center
Hosted by Abbie Betinis.
View the Frequently Asked Questions about the Courtroom Concerts.
Seating is limited and first come first served. Doors open at 11:30. Please call if you are attending as a group of 10 or more (651.292.3267).
Schedule & Programs Subject to Change
About the Host:
Composer Abbie Betinis writes music called “inventive, richly melodic” (The New York Times), “superb, whirling, soaring” (Tacoma News Tribune), and “the highlight” of the program (Boston Globe). With over 50 commissioned works for ensembles such as Cantus, the New England Philharmonic, and The Rose Ensemble, Abbie has been awarded a McKnight Composer Fellowship, grants from the American Composers Forum, ASCAP, and Jerome Foundation, and was recently listed in NPR Music’s Top 100 Composers Under 40. A resident of Saint Paul, she is adjunct professor of composition at Concordia University, and was composer-in-residence with the Schubert Club from 2005-2017