Julia Gooding

Biography

Country: England  
Julia Gooding is a British soprano with an established international reputation, particularly in the field of Baroque and Classical opera. She studied with Johanna Peters at the Guildhall School of Music and Drama in London. Since school, she has traveled extensively throughout Britain and Europe, and appeared in Canada, the U.S., Mexico, and Japan.

She is best known as a concert and oratorio singer. As such, she has appeared in such
Read more locations and festivals as London (including Wigmore Hall and the South Bank Festival), Aldeburgh, Belfast, the National Arts Centre in Ottawa, Frankfurt, the Innsbruck Festival, Paris, Istanbul, Prague, Warsaw, Amsterdam, New York, San Francisco, Glasgow, La Monnaie in Brussels, and Metz.

Gooding's concert repertory includes Handel's Jephtha, the Monteverdi Vespers, cantatas of Alessandro Scarlatti, Bach's St. Matthew Passion, Purcell's King Arthur and The Tempest, Mozart's "Coronation" Mass, Handel's Judas Maccabaeus, Mozart's Requiem, Purcell's Odes for Queen Mary, Haydn's "Nelson" Mass, Handel's Theodora, Bononcini's La gara delle quattro stagioni, Bach's Magnificat, Vivaldi's Dixit Dominus, cantatas of William Boyce, John Taverner's Sappho, and Handel and Bach cantatas. She is known for a special interest in the music of Linley, and has recorded two discs of his works.

Gooding does not confine herself to Baroque and Classical repertory: she has been acclaimed for programs of French medieval music and recorded a set of Songs for Shakespeare's Company on the Hyperion label, and sang in concert Brahms' German Requiem, Ralph Vaughan Williams' Hugh the Drover, and Richard Strauss' Four Last Songs.

She is also active in early opera performance. Roles include Romilda in Handel's Xerxes, Cupid in Blow's Venus and Adonis, Salome in Stradella's San Giovanni Battista, the title role in Handel's Atalanta, Poppea in Monteverdi's L'incoronazione di Poppea, the parts of Minerve, Giunone, and Amore in Monteverdi's Il ritorno d'Ulisse in patria, Dido in Purcell's Dido and Aeneas, Agilea in Handel's Teseo.

Artists and organizations with which Gooding has worked include the Opéra-Comique of Paris, Opernhaus Halle, Jean-Claude Malgoire, Trevor Pinnock, Gustav Leonhardt, the RIAS-Kammerchor, Charles Mackerras and the English Chamber Orchestra, Florilegium, the Waynflete Singers, London Baroque, the Netherlands Bach Society, the Parley of Instruments, the Gabrieli Consort, Nicholas McGegan and the Philharmonia Baroque, the Orchestra of the Age of Enlightenment, and the Academy of Ancient Music.

She has recorded for Erato, Virgin Classics, L'oiseau-Lyre, Harmonia Mundi, Deutsche Grammophon, and Hyperion. Read less

Biography

Country: England  
Julia Gooding is a British soprano with an established international reputation, particularly in the field of Baroque and Classical opera. She studied with Johanna Peters at the Guildhall School of Music and Drama in London. Since school, she has traveled extensively throughout Britain and Europe, and appeared in Canada, the U.S., Mexico, and Japan.

She is best known as a concert and oratorio singer. As such, she has appeared in such
Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
First Music: Chaconne
Second Music: 1. Overture
2. Air
"Woden, first to thee" / "We have sacrific'd"
"The white horse neigh'd aloud" / "To Woden thanks we render"
The Lot is cast (soprano)
Brave souls
I call ye all (Tenor)
'Come if you dare' (tenor)
Hither this way (Philidel)
Let not a Moon-born Elf (Grimbald)
Hither, this way bend
Come follow, follow, follow me (Philidel)
How blest are Shepherds (Shepherd)
Shepherd, shepherd, leave Decoying (Shepherdesses)
Come, shepherds
Second Act Tune: Air
Prelude
What ho (Cupid)
What Power art thou (Genius)
Thou Doting Fool (Cupid)
Great Love, I know thee now
No part of my Dominium (Cupid)
Prelude
See, see, we assemble
'Tis I that have warm'd ye (Cupid)
"Sound a parley" / "'Tis Love, 'tis Love, 'tis Love that has warm'd us"
Third Act Tune: Hornpipe
Two Daughters (Syrens)
Passacaglia - "How happy the lover" - Ritornello - "For love ev'ry creature" - "No joys are above" - "In vain are our graces" - "Then use the sweet blessing"
Fourth Act Tune: Air
Trumpet Tune
Ye blust'ring brethren
Symphony
Round thy coast
For Folded Flocks (Countertenor, Tenor and Bass)
Your Hay it is Mow'd (Comus)
Fairest Isle (Venus)
Dialogue: You say, 'Tis Love (Soprano and bass)
Trumpet tune
"Saint George, the patron of our Isle" - "Our natives not alone appear"
No.1 Chorus I/II: "Kommt, ihr Töchter, helft mir klagen"
No.2 Evangelist, Jesus: "Da Jesus diese Rede vollendet hatte"
No.3 Choral: "Herzliebster Jesu, was hast du verbrochen"
No.4 Evangelist, Chorus I/II, Jesus: "Da versammelten sich die Hohenpriester"
No.5 Recitative (Alto): "Du lieber Heiland du"
No.6 Aria (Alto): "Buss und Reu"
No.7 Evangelist, Judas: "Da ging hin der Zwölfen einer"
No.8 Aria (Soprano): "Blute nur, du liebes Herz"
No.9 Evangelist, Chorus I, Jesus: "Aber am ersten Tage der süssen Brot"
No.10 Choral: "Ich bin's, ich sollte büssen"
No.11 Evangelist, Jesus, Judas: "Er antwortete und sprach"
No.12 Recitative (Soprano): "Wiewohl mein Herz in Tränen schwimmt"
No.13 Aria (Soprano): "Ich will dir mein Herz schenken"
No.14 Evangelist, Jesus: "Und da sie den Lobgesang gesprochen hatten"
No.15 Choral: "Erkenne mich, mein Hüter"
No.16 Evangelist, Jesus, Petrus: "Petrus aber antwortete"
No.17 Choral: "Ich will hier bei dir stehen"
No.18 Evangelist, Jesus: "Da kam Jesus mit ihnen zu einem Hofe"
No.19 Recitative (Tenor, Chorus II): "O Schmerz! hier zittert das gequälte Herz"
No.20 Aria (Tenor, Chorus II): "Ich will bei meinem Jesu wachen"
No.21 Evangelist, Jesus: "Und ging hin ein wenig"
No.22 Recitative (Bass): "Der Heiland fällt vor seinem Vater nieder"
No.23 Aria (Bass): "Gerne will ich mich bequemen"
No.24 Evangelist, Jesus: "Und er kam zu seinen Jüngern"
No.25 Choral: "Was mein Gott will, das g'scheh allzeit"
No.26 Evangelist, Jesus, Judas: "Und er kam und fand sie aber schlafend"
No.27 Aria (Soprano, Alto, Chorus II): "So ist mein Jesus nun gefangen" - Chorus I/II: "Sind Blitze, sind Donner"
No.28 Evangelist, Jesus: "Und siehe, einer aus denen"
No.29 Choral: "O Mensch, bewein dein Sünde groß"
No.30 Aria (Alto, Chorus II): "Ach nun ist mein Jesu hin"
No.31 Evangelist: "Die aber Jesum gegriffen hatten"
No.32 Choral: "Mir hat die Welt trüglich gericht"
No.33 Evangelist, Pontifex, Testis I/II: "Und wiewohl viel falsche Zeugen herzutraten"
No.34 Recitative (Tenor): "Mein Jesus schweigt zu falschen Lügen stille"
No.35 Aria (Tenor): "Geduld"
No.36 Evangelist, Pontifex, Jesus, Chorus I/II: "Und der Hohepriester antwortete"
No.37 Choral: "Wer hat dich so geschlagen"
No.38 Evangelist, Ancilla I/II, Petrus, Chorus II: "Petrus aber sass draussen im Palast"
No.39 Aria (Alto): "Erbarme dich"
No.40 Choral: "Bin ich gleich von dir gewichen"
No.41 Evangelist, Judas, Chorus I/II, Pontifex I/II: "Des Morgens aber hielten alle Hohepriester"
No.42 Aria (Bass): "Gebt mir meinen Jesum wieder"
No.43 Evangelist, Pilatus, Jesus: "Sie hielten aber einen Rat"
No.44 Choral: "Befiel du deine Wege"
No.45 Evangelist, Pilatus, Uxor Pilati, Chorus I/II: "Auf das Fest aber hatte der Landpfleger Gewohnheit"
No.46 Choral: "Wie wunderbarlich ist doch diese Strafe"
No.47 Evangelist, Pilatus: "Der Landpfleger sagte"
No.48 Recitative (Soprano): "Er hat uns allen wohl getan"
No.49 Aria (Soprano): "Aus Liebe will mein Heiland sterben"
No.50 Evangelist, Chorus I/II, Pilatus: "Sie schrieen aber noch mehr"
No.51 Recitative (Alto): "Erbarm es Gott"
No.52 Aria (Alto): "Können Tränen meiner Wangen"
No.53 Evangelist, Chorus I/II: "Da nahmen die Kriegsknechte"
No.54 Choral: "O Haupt voll Blut und Wunden"
No.55 Evangelist: "Und da sie ihn verspottet hatten"
No.56 Recitative (Bass): "Ja freilich will in uns das Fleisch und Blut"
No.57 Aria (Bass): "Komm, süsses Kreuz"
No.58 Evangelist, Chorus I/II: "Und da sie an die Stätte kamen"
No.59 Recitative (Alto): "Ach Golgatha"
No.60 Aria (Alto, Chorus II): "Sehet, Jesus hat die Hand"
No.61 Evangelist, Jesus, Chorus I/II: "Und von der sechsten Stunde an"
No.62 Choral: "Wenn ich einmal soll scheiden"
No.63 Evangelist, Chorus I/II: "Und siehe da, der Vorhang im Tempel zerriss"
No.64 Recitative (Bass): "Am Abend, da es kühle war"
No.65 Aria (Bass): "Mache dich, mein Herze, rein"
No.66 Evangelist, Chorus I/II, Pilatus: "Und Joseph nahm den Leib"
No.67 Recitative (Soprano, Alto, Tenor, Bass, Chorus II): "Nun ist der Herr zur Ruh gebracht"
No.68 Chorus I/II: "Wir setzen uns mit Tränen nieder"
Chorus: "Magnificat"
Aria: "Et exsultavit spiritus meus"
Aria: "Quia respexit humilitatem" (soprano I)
Chorus: "Omnes generationes"
Aria: "Quia fecit mihi magna" (bass)
Aria (Duet): "Et misericordia" (alto, tenor)
Chorus: "Fecit potentiam"
Aria: "Deposuit potentes" (tenor)
Aria: "Esurientes implevit bonis" (alto)
Trio: Suscepit Israel (soprano I, II, alto)
Chorus: "Sicut locutus est"
Chorus: "Gloria Patri"
Overture
Menuet
Act I Scene 1: Accompagnato: It must be so (Zebul)
Act I Scene 1: Air: Pour forth no more unheeded prayr's (Zebul)
Act I Scene 1: No more to Ammon's god and king (Chorus)
Act I Scene 2: Recitative: But Jephtha comes (Zebul, Jephtha)
Act I Scene 2: Air: Virtue my soul shall still embrace (Jephtha)
Act I Scene 2: Recitative: Twill be a painful separation (Storge)
Act I Scene 2: Air: In gentle murmurs will I mourn (Storge)
Act I Scene 3: Recitative: Happy this embassy, my charming Iphis (Hamor)
Act I Scene 3: Air: Dull delay, in piercing anguish (Hamor)
Act I Scene 3: Recitative: Ill suits the voice of love (Iphis)
Act I Scene 3: Air: Take the heart you fondly gave (Iphis)
Act I Scene 3: Recitative: I go, my soul (Hamor)
Act I Scene 3: Duet: These labours past, how happy we (Iphis, Hamor)
Act I Scene 4: Recitative: What mean these doubtful fancies (Jephtha)
Act I Scene 4: Accompagnato: If, Lord, sustain'd by thy almighty pow'r - Tis said. Attend, ye Chiefs (Jephtha)
Act I Scene 4: O God, behold our sore distress (Chorus)
Act I Scene 5: Recitative: Some dire event hangs o'er our heads (Storge)
Act I Scene 5: Air: Scenes of horror, scenes of woe (Storge)
Act I Scene 6: Recitative: Say, my dear mother (Iphis, Storge)
Act I Scene 6: Air: The smiling dawn of happy days (Iphis)
Act I Scene 7: Recitative: Such, Jephtha, was the haughty king's reply (Zebul, Jephtha)
Act I Scene 7: When his loud voice in thunder spoke (Chorus)
Act II Scene 1: Recitative: Glad tidings of great joy (Hamor)
Act II Scene 1: Cherub and Seraphim, unbodied forms (Chorus)
Act II Scene 1: Air: Up the dreadful steep ascending (Hamor)
Act II Scene 1: Recitative: Tis well. Haste, haste, ye maidens (Iphis)
Act II Scene 1: Air: Tune the soft melodious lute (Iphis)
Act II Scene 2: Recitative: Heav'n smiles once more (Jephtha)
Act II Scene 2: Air: His mighty arm (Jephtha)
Act II Scene 2: In glory high (Chorus)
Act II Scene 3: Symphony
Act II Scene 3: Hail, glorious conqueror! (Iphis)
Act II Scene 3: Air and Chorus: Welcome, as the cheerful light ... Welcome thou, whose deeds conspire (Iphis, Chorus)
Act II Scene 3: Recitative: Horror! Confusion! (Jephtha)
Act II Scene 3: Air: Open thy marble jaws, O tomb (Jephtha)
Act II Scene 3: Recitative: Why is my brother thus afflicted? (Zebul, Jephtha)
Act II Scene 3: Accompagnato and Arioso: First perish thou - Let other creatures (Storge)
Act II Scene 3: Recitative: If such thy cruel purpose (Hamor)
Act II Scene 3: Air: On me let blind mistaken zeal (Hamor)
Act II Scene 3: Quartet: O spare your daughter! (Storge, Hamor, Jephtha, Zebul)
Act II Scene 4: Recitative: Such news flies swift (Iphis)
Act II Scene 4: Accompagnato: For joys so vast (Iphis)
Act II Scene 4: Air: Happy they! (Iphis)
Act II Scene 4: Accompagnato: Deeper and deeper still (Jephtha)
Act II Scene 4: How dark, O Lord, are thy decrees! (Chorus)
Act III Scene 1: Arioso: Hide thou thy hated beams (Jephtha)
Act III Scene 1: Accompagnato: A father, off'ring up (Jephtha)
Act III Scene 1: Air: Waft her, angels (Jephtha)
Act III Scene 1: Accompagnato: Ye sacred priests (Iphis)
Act III Scene 1: Air: Farewell, ye limpid springs (Iphis)
Act III Scene 1: Doubtful fear and reverend awe (Chorus)
Act III Scene 1: Symphony
Act III Scene 1: Recitative: Rise, Jephtha (Angel)
Act III Scene 1: Air: Happy, Iphis, shalt thou live (Angel)
Act III Scene 1: Arioso: For ever blessed be (Jephtha)
Act III Scene 1: Theme sublime (Chorus)
Act III Scene 2: Recitative: Let me congratulate (Zebul)
Act III Scene 2: Air: Laud her, all ye virgin train (Zebul)
Act III Scene 2: Recitative: O let me fold thee (Storge)
Act III Scene 2: Air: Sweet as sight to the blind (Storge)
Act III Scene 2: Recitative: With transport, Iphis (Hamor)
Act III Scene 2: Recitative: My faithful Hamor (Iphis)
Act III Scene 2: Quintet: All that is in Hamor mine (Iphis, Hamor, Storge, Jephtha, Zebul)
Act III Scene 2: Ye house of Gilead (Chorus)


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