FULL SENDEROS DEL ALMA FESTIVAL GRANADA Concert 2023 Nereydas, María Espada
Information on the Performance
- Work Title: SENDEROS DEL ALMA FESTIVAL GRANADA Concert
- Composer: various
- Libretto: various
- Venue & Opera Company: San Jeronimo Monastery, Granada, Spain
- Recorded: July 1, 2023
- Type: Concert Live
- Singers: María Espada
- Conductor: Javier Ulises Illán,
- Orchestra: Nereydas
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: France TV
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: nosubs
- Video Recording from: France TV FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Program
Soul Paths
Giovanni Battista Pergolesi (1710-1736)
Salve Regina, in C minor for sopran and strings
Baldassare Galuppi (1706-1785)
Maestoso and Allegro, from the Concerto a quattro No. 3 in D major
Francisco Corselli (1705-1778)
Second Lamentation fot he Holy Wednesday in D minor
Antonio Ugena (c. 1750- c. 1816)
Andante: De Lamentatione Jeremiæ Prophetæ, from the First Lamentation for Holy Friday, in G minor
Baldassare Galuppi
Grave e adagio and Spiritoso, from Concerto a quattro No. 1 in G minor
Antonio Soler (1729-1783)
Sonata in D major, R 84
Second Lamentation for the Holy Wednesday in G minor
Jaime Ferrer (1762-1824)
Soy pastorcilla
Italian Paths through Spain
After more than a decade of existence, the Nereydas ensemble makes its debut at the Festival in magnificent company, that of the soprano from Extremadura María Espada, in a program that mixes works by Spanish and Italian composers, ideal for verifying the deep mark that transalpine musicians left on those from the Iberian peninsula. The recital opens with a Salve Regina by one of the most famous composers of his time, Pergolesi (although he lived only 26 years!). His influence reached everywhere, including the Spanish Royal Chapel –where Francisco Corselli was a master and later his disciple Antonio Ugena–, but also El Escorial, where Father Soler and Jaime Ferrer worked, whose Soy pastorcilla (I am a shepherdess) reveals the survival of the Christmas carol, a Spanish paraliturgical genre par excellence for centuries, as late as 1800.