Jill Feldman

Biography

Born: May 21, 1952; Los Angeles, CA  
Among early and Baroque music specialists, soprano Jill Feldman has built a major reputation since the end of the 1970s, both for her prodigious technical skills and for her ability to communicate the meaning behind a text. She studied in San Francisco and the University of California at Santa Barbara, where she was a musicology major. Her studies in European and Elizabethan literature drew her to the music of Shakespeare's period, and she later Read more became an expert in vocal styles of the sixteenth and seventeenth centuries. Feldman studied with Lillian Loran and made her operatic debut in 1980 in the role of Music in a Berkeley, CA, production of Claudio Monteverdi's Orfeo. She was also the recipient of an Alfred Hertz Scholarship that enabled her to pursue the perfection of her command of period vocal technique under Andrea von Ramm in Basel. Feldman later portrayed Clerio in Francesco Cavalli's Erismena in Spoleto, Italy, at the Festival dei due Mondi, and toured with the medieval music group Sequentia, where she performed the Ordo Virtutum of Hildegard von Bingen. Her career took a great leap forward in 1981 when Feldman joined the Parisian period music ensemble Les Arts Florissants, through which she essayed the title role in Marc-Antoine Charpentier's Médée at the Salle Pleyel in Paris in 1984; the work earned all concerned a Gramophone Record Award in England and the Grand Prix du Disque de Montreux when it was recorded and released in 1985 on the Harmonia Mundi label. She subsequently toured America with the Philharmonia Baroque Orchestra, performing repertory by George Frideric Handel, including the oratorio Susanna and the cantata Clori, Tirsi, e Fileno, of which she also made award-winning recordings. Feldman has been widely praised not only for her technical perfection but also for her ability to communicate the meaning of texts that are usually up to half a millennium old (and may well not have been heard in ensuing centuries) -- she has also been responsible for reviving such unheard-in-modern times roles as Vita in Marco Marazolli's sixteenth century La vita humana. The latter work was done in association with the Scottish Early Music Consort of Glasgow, with which Feldman has been associated since the mid-1980s. She has also recorded with such celebrated conductors as Frans Brueggen on Haydn's The Creation, and Andrew Parrot on Handel's Carmelite Vespers. Her frequent collaborators include harpsichordist Kenneth Weiss and viola da gamba virtuoso Paolo Pandolfo. Feldman has also been a noted teacher, conducting master classes in America and Europe, and has trained such notable younger performers as Anabela Marcos and the male soprano Yves la Pech. Read less

Biography

Born: May 21, 1952; Los Angeles, CA  
Among early and Baroque music specialists, soprano Jill Feldman has built a major reputation since the end of the 1970s, both for her prodigious technical skills and for her ability to communicate the meaning behind a text. She studied in San Francisco and the University of California at Santa Barbara, where she was a musicology major. Her studies in European and Elizabethan literature drew her to the music of Shakespeare's period, and she later Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Wohl dem, der den Herren furchtet
Dein Weib wird sein
Siehe also wird gesegner der Mann
Der Herr wird dich segnen
Amen
Part I: Overture
Part I: Aria "Cor fedele" (Tirsi)
Part I: "Povero Tirsi" (Tirsi)
Part I: "Quell'erbetta" (Tirsi)
Part I: "Se il guardo" (Tirsi)
Part I: "Dubbia così" (Clori, Fileno)
Part I: Aria "Sai perché" (Fileno)
Part I: "Vezzoso pastorello" (Clori)
Part I: Aria "Conosco che" (Clori)
Part I: "Dunque sperando" (Fileno, Clori)
Part I: Aria "Son come quel nocchiero" (Fileno)
Part I: "Se altra pace" (Clori, Tirsi, Fileno)
Part I: Duetto "Scherzano sul tuo volto" (Clori, Fileno)
Part II: Duetto "Fermati!" (Clori, Tirsi)
Part II: "Creder d'un angue" (Tirsi)
Part II: Aria "Tra le fere" (Tirsi)
Part II: "Tirsi, mio caro Tirsi" (Clori)
Part II: "Pur cederti" (Tirsi, Clori)
Part II: Aria "Amo Tirsi" (Clori)
Part II: "Va, fidati" (Fileno)
Part II: Aria "Povera fedeltà" (Fileno)
Part II: "Non ti stupir" (Tirsi)
Part II: Aria "Un sospiretto" (Tirsi)
Part II: "Tirsi, amico e compagno" (Fileno)
Part II: Aria "Come la rondinella" (Fileno)
Part II: "Così felici" (Clori, Tirsi, Fileno)
Part II: Trio "Vivere e non amar" (Fileno, Tirsi, Clori)
Part I, Aria; Va col canto lusingando (Clori)
Part II, Aria; Barbaro! tu non credi (Clori)
Prologue
Act I, scenes 1 & 2
Act I, scenes 3 à 6
Act I, scenes 6 à 9
Act I, scenes 10 & 11
Act I, scenes 12 à 14
Act I, scenes 15 & 16
Act I, scenes 18 à 20
Act II, scenes 1 à 4
Act II, scenes 4 & 5
Act II, scene 6
Act II, scene 7
Act II, scenes 8 à 10
Act II, scene 11
Acte I, scène 17. Recitativo & aria Arsamene: "Innamorato cor"
Act II, scenes 12 à 14
Act II, scene 15
Act II, scene 15a
Act II, scenes 16 à 18
Act II, scenes 19 & 20
Act III, scenes 1 à 4
Act III, scenes 5 & 6
Act III, scenes 7 & 8
Act III, scenes 9 & 10
Act III, scenes 11 à 13
Act III, scenes 14 à 17
Act III, scene 18
Act III, scenes 19 & 20
Overture
Act I Scene 1: Andante grazioso, che ballano le Grazie
Act I Scene 1: Coro di geni e grazie - Di te piu amabile
Act I Scene 1: Recitativo - Geni, grazie ed amori
Act I Scene 1: Aria - L'ombre de'rami tuoi
Act I Scene 1: Recitativo - Ma la ninfa gentil
Act I Scene 1: Coro di geni e grazie - Di te piu amabile
Act I Scene 2: Recitativo - Perche tacer degg'io?
Act I Scene 2: Aria - Cara, lontano ancora
Act I Scene 3: Coro di pastori - Venga, de'sommi eroi
Act I Scene 3: Recitativo - Ma qual canto risona?
Act I Scene 3: Coro di pastori - Venga, de'sommi eroi
Act I Scene 3: Recitativo - Ma tu, chi sei
Act I Scene 3: Aria - Se il labbro piu non dice
Act I Scene 3: Recitativo - Quanto soavi al core
Act I Scene 4: Coro di pastori e pastorelle o ninfo, e ballo - Hai di Diana il core
Act I Scene 4: Recitativo - Oh generosa Diva
Act I Scene 4: Coro di pastori - Venga, de'sommi eroi
Act I Scene 4: Recitativo - Di propria man la Dea
Act I Scene 4: Coro di pastori - Venga, de'sommi eroi
Act I Scene 4: Recitativo - Oh mia gloria
Act I Scene 4: Aria - Per la gioia in questo seno
Act I Scene 4: Recitativo - Misera! che faro?
Act I Scene 4: Cavatina - Si, ma d'un altro amore
Act I Scene 4: Recitativo - Ah no, Silvia t'inganni
Act I Scene 4: Aria - Come e felice stato
Act I Scene 4: Recitativo - Silvia, mira, che il sole
Act I Scene 4: Coro di pastori - Venga, venga, de'sommi eroi
Act I Scene 5: Recitativo - Cielo! che vidi mai?
Act I Scene 5: Aria - Ah di si nobil alma
Act I Scena 5: Recitativo - Un'altra prova


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