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Folk Baroque
2018-10-18

Camerata Tinta Barocca presents:

FOLK BAROQUE

18 October 2018

Odeion

19:30

with

  • Bridget Rennie-Salonen (traverso)
  • Darryn Prinsloo (recorder)
  • Annien Shaw (Baroque violin)
  • Uwe Grosser (theorbo, Baroque guitar)
  • Cheryl de Havilland (Baroque cello)
  • Erik Dippenaar (harpsichord, director)

Camerata Tinta Barocca (CTB), founded in Cape Town by violinist Quentin Crida (July 2004), is the leading South African Baroque ensemble playing on period instruments. Its name is derived from the musicians' passion for Baroque music and red wine. The members include some of Cape Town's finest musicians who embrace a historically informed performance practice approach. CTB's concerts have been broadcast on Fine Music Radio and have received critical acclaim in the Cape Times and Die Burger. Mostly playing music from the 18th century, CTB has worked with leaders in their fields, such as Baroque violinists Antoinette Lohmann and Pauline Nobes; violinists David Juritz, Darragh Morgan and Zoe Beyers; countertenor Christopher Ainslie; male soprano Philipp Mathmann; recorder player Stefan Temmingh; mandolin player Alon Sariel and conductor Arjan Tien.

Apart from CTB's annual concert series in their home, St Andrew's Presbyterian Church (Cape Town), the ensemble regularly accompanies opera and oratorio performances, and performs in festivals throughout South Africa. CTB also has an active outreach component, which includes an annual education tour to the West Coast (the Matzikama Music Week), the Sunshine Concerts (an outreach programme for people unable to attend concerts because they are elderly, indigent or disabled in some way), as well as a regular collaboration with the Keiskamma Music Academy (Eastern Cape).

Since 2011 CTB has gradually moved towards playing on period instruments. Currently it is the only period ensemble in South Africa that regularly plays in orchestral format, performing most of its annual concerts on period instruments. In 2013 CTB, in collaboration with the Cape Consort, gave the first South African period performance of Handel's Messiah. During November 2016 CTB played for Cape Town Opera's first production to use a period instrument orchestra: Monteverdi's L'Orfeo, directed by Jaco Bouwer and conducted by Erik Dippenaar. In December 2016 CTB was nominated for a kykNET Fiesta award for a programme titled Handel in the Drawing Room presented during the 2016 Klein Karoo Klassique festival. In September 2017 CTB successfully launched the first annual Cape Town Baroque Festival.

In 2015 CTB set up a collaboration with the early music ensemble Collegium Musicum at the South African College of Music, University of Cape Town, through which two student cadets annually receive hands-on training in period performance in CTB projects. The cadet scheme is generously supported by the Claude Leon Foundation. In July 2015 Erik Dippenaar was appointed Artistic Director of CTB, Michael Maas (former CEO of the Artscape Theatre Centre) as Administrative Coordinator and Cheryl de Havilland as Outreach Coordinator.

www.ctbaroque.co.za

PROGRAMME

  • Marco Uccelini (c.1610 – 1680): Bergamasca
  • Trad. Scottish, Orpheus Caledonius (1733): The bush aboon tranquair
  • Francesco Barsanti (1690 – 1775): The bush aboon tranquair from A Collection of Old Scots Tunes (1742)
  • Francesco Geminiani (1687 – 1762): The bush aboon tranquair from A treatise of good taste in the Art of Musick (1749)
  • Gaspar Sanz (1640 – 1710): Canarios
  • Francesco Barsanti (1690 – 1775): Lochaber from A Collection of Old Scots Tunes (1742)
  • Domenico Scarlatti (1685 – 1757): Sonata in C minor, K.99
  • Gaspar Sanz (1640 – 1710): Zarabanda
  • Tarquinio Merula (1595 – 1665): Ciaconna
  • Trad. Scottish, Orpheus Caledonius (1733): Lady Ann Bothwell's lament
  • Francesco Geminiani (1687 – 1762): Lady Ann Bothwel’s Lament
  • Francesco Veracini (1690 – 1768): Scozzese from Sonata IX, Opus 2 (1744)
  • Niel Gow (1727 – 1807): Lament for the Death of his 2nd wife

ADMISSION

  • R120 (adults)
  • *R80 (pensioners)
  • *R70 (UFS staff)
  • *R50 (students, learners and block bookings of 10+)

Tickets available at Computicket or online at http://online.computicket.com/web/

*Please note that tickets for pensioners, students, learners and UFS staff can only be purchased at a Computicket outlet (Shoprite Checkers) or at the doors since a valid card or ID has to be presented to qualify for the above mentioned discount.

ENQUIRIES
Ninette Pretorius (tel. 051 401 2504)


Back
Die Huis van Maria Malan (A)

Playwright: Nico Luwes
Director: Nico Luwes
Venue: Wynand Mouton Theatre

Dates and times:

21 March 2012 19h30
22 March 2012 19h30
23 March 2012 19h30

R30 for adults
R25 for pensioners
R20 for scholars and students
R15 for Theatre Club Members

Bookings: Computicket (Mimosa Mall and Checkers)
Bookings for block bookings of 10 or more people can be done with Thys Heydenrych (072 235 3191)

Die Huis van Maria Malan is an Afrikaans adaptation of House of Bernarda Alba, Federico Garcia Lorca's and is his last play, written the year he was killed at the outbreak of the Spanish Civil War. The play, along with Blood Wedding and Yerma, forms a trilogy expressing what Lorca saw as the tragic life of Spanish women. These late works Dennis Klein in Blood Wedding, Yerma, and The House of Bernardo Alba called "the most accomplished and mature efforts of the finest Spanish playwright of the twentieth century." If Blood Wedding is a nuptial tragedy and Yerma the tragedy of barren women, The House of Bemarda Alba might be seen as the tragedy of virginity, of rural Spanish women who will never have the opportunity to choose a husband. It is also a play expressing the costs of repressing the freedom of others.

The House of Bemarda Alba finally had its stage premiere nearly a decade after Lorca's death. The play was produced in Buenos Aries in 1945, and was published the same year, in Argentina. Given the repression of artistic expression in Spain during Franco's regime, it was not until 1964 that Lorca's last play was finally produced in his native country, at Madrid's Goya Theatre. Its setting is specific to the values and customs of a rural Spanish people, but the play's appeal is universal rather than national.

In this adaptation the play is set in a conservative South African context during 1910-1915. The play is perfect for 3rd year students as all the characters roles are played by women in a complicated plot with interesting interpersonal relationships. The contrast in values between the workers and the daughters of the strict matriarch, Maria Malan, creates new impetus to and meaning in the play within the South African context.

All the daughters are in love with Hermanus van Wyk, the smartest and most attractive young man of the region. He will probably marry the oldest and ugliest daughter for the money she inherited from her late father. According to tradition, the young girls are forced to mourn the loss of their father for a long time and may not leave the house. At night we can hear the stud of Hermanus galloping around the house. What is he up to? Does he perhaps visit someone at her window? Soon the suffocating house of Maria Malan become bees nest of suppressed emotions, conspiracies and mistrust. The matriarch soon stands helpless against the laws of nature and the tragedy that looms on the horizon.

Nico Luwes is responsible for the adaptation and direction. 12 third year students play the main roles and the rest of the class take up the roles of women of the town. The play is performed from 21 to 23 March in die Wynand Mouton Theatre at 19:30.

Book at Computicket.
 

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