Rahvusooperi Jõulukontsert Tallinna Jaani Kirikus

Estonian National Opera soloists, chorus and orchestra

 

PROGRAMME
Wolfgang Amadeus Mozart (1756–1791)
Motet “Exsultate, jubilate!” KV 165
“Vesperae solennes de confessore”, K. 339

Wolfgang Amadeus Mozart wrote the motet “Exsultate, jubilate”, K 165 at the age of sixteen after the premiere of his seventh opera “Lucio Silla” at the Regio Ducal Teatro Milano in 1772. The astonishing voice of the famous castrato Venezio Rauzzini, who sang the part of Cecillo, made such an impression on the young composer that he wrote the motet, keeping in mind the vocal abilities of Rauzzini. The florid coloratura style of the piece and the demands that it puts forward to the virtuosity of the singer give us a hint of the quality of Rauzzini’s voice. “Exsultate jubilate” was given a soulful premiere by Rauzzini on January 17, 1773 in the Church of San Antonio in Milan. In this work Mozart combines the aria and recitative style of opera seria with the three-part form (fast, slow, fast) of the Italian symphony. The result is a miniature vocal concerto in three movements.

 

This year’s Chirstmas Concert presents Wolfgang Amadeus Mozart’s “Vesperae solennes de confessore”, K. 339 as its highlight performed by the soloists, chorus and orchestra of the Estonian National Opera.

“Vesperae solennes de confessore”, K. 339, was composed for liturgical use in the Salzburg Cathedral. The title “de confessore” was added by a later hand to his manuscript. It suggests that the work was intended for vespers held on a specific day on the liturgical calendar of saints (“confessors”). Although the finishing and premiere date of the work is not known, it is suggested that it was composed for the patron saint of Salzburg, St. Rupert. “Vesperae” was Mozart’s last liturgical work as the court musician of the Salzburg Archbishop Hieronymus Colloredo in 1773–1781.
The text consists of five Psalms and the “Magnificat” canticle that concludes every Vespers service. As required by Archbishop Colloredo, each Psalm is set as a continuous movement, as opposed to being divided into separate arias, ensembles, and choruses in the operatic style invading church music at that time. The most operatic is the lyric soprano solo of “Laudate Dominum” that is often performed as a separate piece.
Mozart’s relations to the church were not very strong, therefore religious music is one of the smallest part of his output – he has written 17 masses altogether. After the “Vesperae”, he began yet two more liturgical works that remained unfinished: Mass in C minor and Requiem.

The concert also features beloved Christmas songs!