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COMPOSERHeinrich Schutz
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PERFORMERTobia Hunger, Marie Luise Werneburg, Magdalena Podkoscielna, Magdalene Harer, Georg Poplutz, La Cape
Schütz: Dafne / Wilson, Musica Fiata
- CPO
- October 28, 2022
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RELEASE DATEOctober 28, 2022
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UPC761203549429
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CATALOG NUMBER555494-2
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LABELCPO
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NUMBER OF DISCS1
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GENRE
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Intrada
Composer: Heinrich Schütz
Ensemble: Musica Fiata
Conductor: Roland Wilson
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The Prologue: Ihr sterblichs Volck d' ich nit sterblich bin (Ovidius)
Composer: Heinrich Schütz
Ensemble: Musica Fiata
Performer: Georg Poplutz
Conductor: Roland Wilson
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Act I: Hinter diesem Schatten hier (Drei Hirten, Apollo, Chorus)
Composer: Heinrich Schütz
Ensemble: La Capella Ducale, Musica Fiata
Performer: David Erler, Georg Poplutz, Joachim Höchbauer, Tobias Hunger
Conductor: Roland Wilson
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Act II: Was suchet jhr (Cupido, Venus, Apollo, Chorus)
Composer: Heinrich Schütz
Ensemble: La Capella Ducale, Musica Fiata
Performer: Magdalene Harer, Magdalena Podkościelna, Tobias Hunger
Conductor: Roland Wilson
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Act III: Es ist die Spur dess Hirschen ja für mir (Dafne, Apollo, Chorus)
Composer: Heinrich Schütz
Ensemble: La Capella Ducale, Musica Fiata
Performer: Marie Luise Werneburg, Tobias Hunger
Conductor: Roland Wilson
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Act IV: Was gilt' s ich habe dir den stoltze Muth gebrochen (Cupido, Venus, Chorus)
Composer: Heinrich Schütz
Ensemble: La Capella Ducale, Musica Fiata
Performer: Magdalene Harer, Magdalena Podkościelna
Conductor: Roland Wilson
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Act V: Bleib, Nymfe, bleib; ich bin dein Feind ja nicht (Apollo, Dafne, Chorus)
Composer: Heinrich Schütz
Ensemble: La Capella Ducale, Musica Fiata
Performer: Tobias Hunger, Marie Luise Werneburg
Conductor: Roland Wilson
Featuring ⌄
Product Details ⌄
Works ⌄
The first and presumably only performance of the opera Dafne took place in Torgau on April 13, 1627, as part of the festivities celebrating the marriage of the Saxon Duchess Sophie Eleonore and the Hessian Landgrave Georg II. Although the libretto by Martin Opitz appeared in print, virtually nothing of the music has survived. At first glance, the reconstruction of an opera whose music has not survived appears to be a daring undertaking. In fact, however, there are many clues to the structure of the work, so that it was possible to produce something that, although not identical to the original, is very close to it. In all, there are a dozen mostly secular works by Schütz in the present reconstruction by conductor Roland Wilson, making up about half of the entire opera. Says Wilson himself, "You'll hear some glorious pieces by Schütz and his contemporaries that you probably never would have listened to otherwise."
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