Think Unpredictable Ochre.
Free parking is a available at First Presbyterian Church and in the shopping center across the street.
Saturday, January 25, 2014, 8PM at First Presbyterian Church, 8001 Mesa Drive
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Sunday, January 26, 2014, 3PM at First Presbyterian Church, 8001 Mesa Drive
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General Admission: $25; $20 seniors 60+; $15 students (advance sales)
$5 students with valid ID (at the door only)
Tickets available online by clicking on the links above, or by cash, check,
or credit card at the door.
For more information, email the Box Office or call (512) 377-6961 and leave a message.
Georg Philipp Telemann’s short comic opera Pimpinone: The Unequal Marriage Between Vespetta and Pimpinone or The Domineering Chambermaid, written in 1725, is hilarious, touching, prophetic, and beautiful.
The Director |
The Performers |
The interplay between the two characters, Vespetta and Pimpinone, is hilarious both in the witty dialogues and duets and in the acrobatic arias; the more intimate arias in which each separately explores inner fears and desires are tender and heartfelt. How can an opera be prophetic, one might ask? In at least two ways, actually: one of Pimpinone’s songs foreshadows Papageno’s “Pa, pa, pa, Papagena” from Mozart’s The Magic Flute, written 66 years later. It uses the one syllable motive â€œPim, pim, pim…” and also the feminization of his own name, “Pimpinona”! Mozart knew a clever idea when he heard it!
The subtitle gives an idea of the nature of the plot. It is a story that has been told often in theater, opera, movies, and television sit-coms: Pimpinone is a wealthy but homely bachelor while Vespetta is a clever and attractive chambermaid looking for a rich boss (soon-to-be-husband.) Guess who marries whom and guess who is in control of the marriage! The arias very expertly define the personalities of the characters: Vespetta’s arias are flirty and saucy and become more complex as her station in life rises. Pimpinone’s arias are tender, heartfelt, and yet are also very funny. The orchestral music is delightfully sophisticated with brilliantly written imitations of vocal lines and stunningly complimentary countermelodies.
Early music stars from around the USA join TEMP’s Austin regulars for this entertaining and virtuosic music. TEMP core-member Meredith Ruduski (soprano) sings the role of Vespetta and New York’s Peter Walker (bass-baritone) portrays the put-upon title character in this performance, set in current times and fully staged, and with supertitles for easy comprehension of the comedy and pathos. Both are recreating the roles they performed in 2012 in Boston with Helios Early Opera. The accompanying period-instrument ensemble includes violinists Anna Griffis (Boston) and Bruce Colson (Austin), violist Andrew Justice (Denton), and TEMP regulars Jane Leggiero (cello), Scott Horton (theorbo), and La Follia Austin Baroque director Keith Womer on harpsichord.
Also on tap is one of Telemann’s most ravishing chamber quartets, Paris Quartet No. 11, featuring traverso player Marcus McGuff. It was written during Telemann’s long sojourn to Paris in 1738 and is yet another testament to Telemann’s “new” fame as a master of Baroque counterpoint, ingenuity, and beautiful melodies.
Download the Telemania! program notes to read in advance of the performances!
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Texas Early Music Project
Tue Jan 21 2014