A Baroque Valentine’s for LGBT+ History Month

Discover the LGBT+ undercurrents present within our paintings in this historically-informed performance highlighting the fluid nature of love, sexuality, and gender.

Conducted by founder and artistic director Ian Peter Bugeja and led by Naomi Burrell, international vocal & period instrument ensemble ‘Les Bougies Baroques’ is accompanied by singers Zerrin Karslı, Margo Arsane, Cenk Karaferya, and Mark Kendrick to challenge and deconstruct heteronormative understandings of love and gender through the medium of Baroque music.

In an exploration of both art and music – featuring works by composers from the LGBT+ family (Lully & Handel), LGBT allies (Mozart), and female composers (De La Guerre, Walpurgis, Martinez, and Agnesi Pinottini) whose existence and individuality (relating to both their music & inferred sexualities) have been all but erased – we ask what has shaped our perceptions of ‘men’ or ‘women’, the feelings they ‘should’ possess, and how we might express them.

——————

‘Les Bougies Baroques’
Conductor/Harpsichord | Ian Peter Bugeja
Leader | Naomi Burrell

Soprano | Zerrin Karslı
Mezzo-soprano | Margo Arsane
Countertenor | Cenk Karaferya

——————

PROGRAMME

Room 31:

1. G.F. HANDEL (1685-1759): ‘Guilt trembling spoke my doom’ from ’Susanna’ (1749)

2. A.M. BONONCINI (1677-1726): ‘Festivi, giulivi, risuonate’ from ‘La decollazione di San Giovanni Battista’ (1709)

3. M.A. WALPURGIS (1724-1780): ‘Da me ti dividi’ from ’Talestri, Regina delle Amazzoni’ (1760)

4. M. MARTINEZ (1744-1812): ‘Vorrei da’ lacci sciogliere’ from ’Scelta d’arie composte per suo diletto’ (1767)

– – – – – – –

ROOM 8:

1. É.J. DE LA GUERRE (1665-1729): Overture to ‘Céphale et Procris’ (1694)

2. W.A. MOZART (1756-1791): ‘Al chiaror di que’bei rai’ from ‘Ascanio in Alba’ (1771)

3. G.F. HANDEL (1685-1759): ‘Hence, hence, Iris hence away’ from ‘Semele’ (1743)

4. G.F. HANDEL (1685-1759): ‘Non è amor, ne gelosia’ from ‘Alcina’ (1735)

5. G.F. HANDEL (1685-1759): ‘Streams of Pleasure ever flowing’ from ‘Theodora’ (1749)

6. J.B. LULLY (1632-1687): Overture to ‘Phaëton’ (1683).

7. W.A. MOZART (1756-1791): ‘En! Duos conspicis’ from ‘Apollo et Hyacinthus’ (1767)

8. G.F. HANDEL (1685-1759): ‘Happy We’ from ‘Acis & Galatea’ (1732)

9. M.A. CHARPENTIER (1643-1704): Overture to ‘David et Jonathas’ (1688)

10. M.A. WALPURGIS (1724-1780): ‘Non parlarmi più d’amore’ from ’Six arias for Soprano, Strings & Continuo’

11. M.T. AGNESI PINOTTINI (1720-1795): ‘Accostumai bambina delle vicende al corso’ from ‘Ulisse in Campania’ (1768)

12. G.F. HANDEL (1685-1759): ‘Consolati, o bella’ from ‘Orlando’ (1733)

——————

www.lesbougiesbaroques.com
www.ianpeter.net