Homenaje a Shakepeare

By Pablo FitzGerald Cerdán, 04 February 2017

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Reviewed at Auditorio Nacional de Música, Madrid on 2 February 2017

Locke, The Tempest

Johnson, Hark, hark, the lark at heaven's gate sings

Wilson, Take, O take those lips away

Locke, The Tempest: Curtain Tune

Morley, O Mistresse mine

Johnson, Twelfth Night: When that I was

Works by Purcell

Wilson, A Winter's Tale: Lawn as white as driven snow

Edwards, When griping grief

Johnson, Eliza is the fairest Queen

Purcell, The Fairy Queen (extracts)

The King's Consort

Robert King, Conductor

Berit Norbakken Solset, Soprano

Festkonzert with Carolyn Sampson: Handel's Heroines

Sandra Bowdler, 13th June

Carolyn Sampson returns joyfully to the Halle Handel Festival, accompanied by trumpeter Neil Brough and the King's Consort under Robert King.

****1

Fitting Handel like a glove

Travis Mason, 14th January

Iestyn Davies and The King's Consort a real highlight at the Valletta International Baroque Festival.

****1

An Acis and Galatea without sparkle in Versailles

Vesna Gerintes, 28th June

Handel’s original version of Acis and Galatea was written in 1717–18 at Cannons, a stately home in Middlesex. Composed with light orchestration, it was not meant to be performed in an opera theatre, but rather in this private mansion.

**111

The King's Consort delights Dutch audience with works from Henry Purcell's English court

Kristen Huebner, 25th April

All too often opera in concert is presented in its most basic format, without the theatricality and staging so characteristic to its execution. However, when a presentation comes along from the likes of The King’s Consort, you can be sure that justice will be served, even without the smoke and mirrors we’ve all grown to love.

****1

The Fairy Queen at the Theater an der Wien

Zwölftöner, 1st March

The ‘semi-opera’ was an English musical and spoken theatre hybrid which by the end of the 17th century had begun to scrape the bottom of Restoration drama’s literary barrel, and by the 18th had been rendered obsolete by efforts to introduce the English to formal opera from the continent.

****1

The King's Consort: Musical Oysters at Wilton's Music Hall

James Potter, 14th February

'Romantic' is a term normally applied to heart-on-sleeve 19th-century music, but this evening's concert had me convinced that the real music of love is baroque. The venue was well-chosen for this evening of musical oysters; Wilton's Music Hall is beautiful, intimate and yet grandiose.

****1

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Pablo FitzGerald Cerdán

Pablo FitzGerald Cerdán (Madrid, 1994) estudió el grado medio de guitarra clásica en el Conservatorio Profesional de Música de Arturo Soria, y actualmente estudia el grado medio de Instrumentos de Cuerda Pulsada del Renacimiento y el Barroco en el mismo centro, además de cursar, desde 2012, el Grado en Musicología en la Universidad Complutense. Como intérprete de música antigua, ha realizado cursos de perfeccionamiento y forma parte de grupos especializados en la interpretación de este repertorio, además de presentarse como solista. Como musicólogo ha ofrecido conferencias. Colabora también con la revista Síneris y es cofundador del blog 'Lírica para todos'.

Un homenaje a Shakespeare y la música inglesa