The Victim of Love

Antonio Gianettini’s La vittima d’amore, osia La morte di Cristo
modern premiere of the 1690 oratorio

Friday, February 21, 2020
at 7 PM
St. Mary’s Church
669 West Ave, Norwalk, CT
ticket(s) included with membership
free; donations appreciated

Sunday, February 23, 2020
at 4 PM
Corpus Christi Church
529 West 121st St, New York, NY
ticket(s) included with membership
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Following the expulsion of the Duke of Modena’s sister, Maria Beatrice, and her husband James II from England, the Modenese court explored the idea that faith can lead to suffering and martyrdom. Gianettini’s Italian-language passion oratorio La vittima d’amore, ossia La morte di Cristo emphasizes the pain of Mary and St. John in accepting the sacrifice of Christ on the cross as well as the universal implications of that sacrifice.

The composer’s last name is also spelled Giannettini, Zanettini, and Zannettini.

Musicians, Choreographer, and Guest Speaker

Jeremy Rhizor, music director and violin
Tony Lopresti, movement director
Charles Weaver, guest speaker

Andrew Leslie Cooper, Cristo Nostro Signore (countertenor)
Madeline Healey, Maria Vergine (soprano)
Corey Shotwell, S. Giovanni (tenor)

Chloe Fedor, violin
TBA, viola
Arnie Tanimoto, cello
Arash Noori, theorbo
Marc Bellassai, harpsichord
Parker Ramsay, organ

Program Information

La vittima d’amore, osia La morte di Cristo (1690)
composer: Antonio Gianettini 1648–1721
librettist: Francesco Torti 1658–1741

Edition based on the 1704 manuscript in the Österreichische Nationalbibliothek
edition: Jeremy Rhizor and Leili Zhang

Translation based on 1690 and 1695 printed libretti in Biblioteca Estense Universitaria, Modena
translation: Lucy Yates

The Academy of Sacred Drama‘s oratorio performances move beyond passive entertainments to engaging experiences of cultural value through the organization’s rediscovery of forgotten musical treasures, restoration of historical performance formats, and unification of high-quality music-making with social and intellectual exploration. Believed to be the modern premiere of Antonio Gianettini’s La vittima d’amore, the Academy’s February 2020 performances will be a once-in-a-lifetime opportunity to witness the revival of this masterful full-scale work in a format that parallels its premiere. The social and intellectual dimensions of La vittima will be explored through a contextual lecture set between oratorio halves and a reception that will follow the performance.

Charles Weaver is on the faculty of the Juilliard School, where he teaches Historically Informed Performance on Plucked Instruments. He was music director for Cavalli’s La Calisto with New York’s Dell’Arte Opera in summer 2017, when The Observer remarked on “the superb baroque band led by Charles Weaver…it was amazing to hear what warm and varied sounds he coaxed from the ensemble.” He has served as assistant conductor for Juilliard Opera, and accompanied operas with the Yale Baroque Opera Project and the Boston Early Music Festival. Chamber music appearances include Quicksilver, Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Apollo’s Fire, Blue Heron, and Musica Pacifica. He also works with the New York Continuo Collective, an ensemble of players and singers exploring seventeenth-century vocal music in semester-length workshop productions. He has taught at the Lute Society of America Summer Workshop and the Madison Early Music Festival. This Summer he will join the faculty of the International Baroque Institute at Longy. He is associate director of music at St. Mary’s Church in Norwalk, Connecticut, where he specializes in Renaissance polyphony and Gregorian chant.