Handel As Orpheus: Voice and Desire in the Chamber Cantatas
MIT Professor of Music Ellen Harris discusses Handel's chamber cantatas written from 1706-23, from a social point of view, exposing the exclusive and secret homosexual society in which they were created. The compositions were written when Handel lived in the homes of aristocratic patrons, first in Italy and then in Germany and England. Harris concentrates on the texts, including for the first time complete translations of all sixty seven cantatas, and discusses them in terms of their classical meanings, social context, and secret codes and private references.
Musical references on CD:
Veronique Gens, soprano, with Les Basses Reunies: "Haendel Cantates" includes three cantatas for women's voice: "Lucrezia," "Armida abbandonata," "Agrippina condotta a morire" (Virgin Classics 5452832);
Judith Nelson, soprano; David Thomas, bass, with Philharmonia Baroque Orchestra, Nicholas McGegan, conductor: "Apollo e Dafne" (Harmonia mundi 905157)
Office of the Provost, MIT Libraries, MIT Press Bookstore
It looks like no one has posted a comment yet. You can be the first!
You need to log in, in order to post comments.
More from MIT World — special events and lectures
Added over 5 years ago | 01:21:00 | 8587 views
Added over 5 years ago | 01:09:00 | 30808 views
Added over 5 years ago | 01:06:00 | 3561 views
Added over 5 years ago | 01:04:00 | 27160 views |
Added over 5 years ago | 00:42:20 | 2899 views
Added over 5 years ago | 00:52:57 | 5014 views