ADRIANA ZOPPO - Viola d'amore
During the Covid-19 "Safer at Home" period,
Glendale Noon Concerts will bring our programs
to you via streaming on Facebook Live and Youtube:
The SEPTEMBER 16, 2020 program can be viewed at this link
beginning at 12:10 pm PDT:
Glendale City Church Youtube Channel:
WATCH Again! The September 2 concert on Youtube:
Facebook stream: GLENDALE NOON CONCERTS
Every FIRST & THIRD WEDNESDAY at 12:10 pm PDT
On Wednesday SEPTEMBER 16, 2020 at 12:10 pm PDT:
ADRIANA ZOPPO Solo Viola d'amore Recital
(Scroll down for artist bio & program notes)
"Charites" by Kirstin Fife
Facebook SEPTEMBER 16 event page
A Winner of the Beverly Hills Auditions of the Consortium of Southern California Chamber Music Presenters, Adriana Zoppo performs on the violin, viola, baroque violin, baroque viola, and the rarely heard viola d’amore. She has played regularly with the Santa Barbara, Pacific, and Long Beach Symphonies, Pasadena Pops, Long Beach Opera, St. Matthew Chamber Orchestra and other ensembles in the area. Director/Curator of the Glendale Noon Concerts’early music sub-series Adriana, with Ergo Musica, is heard there frequently. Previously a member of the Carmel Bach Festival and L.A. Baroque Orchestra, she plays with the original instrument ensembles Musica Angelica Baroque Orchestra, L.A. Baroque Players, Bach Collegium San Diego and the Corona del Mar Baroque Festival, where she has appeared as viola d'amore soloist. Adriana has played for motion pictures, TV shows, video games, solo artist recordings, Broadway musicals, and live shows of all musical styles from classical to jazz, and was part of the band for the musical Hamilton during its recent run in Los Angeles. Adriana holds a Bachelors degree from U.S.C. and Masters from the University of Michigan, both in violin performance.
Viola d’amore description:
Louis-Toussaint MILANDRE (floruit ca. 1756 – ca. 1776) was a French composer, violinist, viol and viola d'amore player in the court chamber music of Louis XV of France.
Milandre's Méthode facile pour la viole d'amour (Easy Method for the Viola d'amore), published in 1771 (previously thought to be published in 1782), contains thorough information on viola d'amore technique, along with a selection of arrangements and compositions. The method remains an important pedagogical volume.
In 1776, Milandre was editor of L'année musicale, a Parisian musical journal.
Los Angeles composer
Charites Program Notes
This piece came about when my dear friend, Adriana Zoppo asked me to compose a piece for the Viola D’Amore. I thought of her wonderful qualities and interests and came up with the idea of composing a piece about the three Graces, or Charites, from Greek mythology. In Roman mythology they were called Gratiae. The Charities were essentially the event planners for the Gods. They represented style and taste and fun.
The first movement is Thaleia, who was the Grace of blooming. This movement tells the story of how Thaleia was seized by Zeus, who was in the form of an eagle, and then he made love to her. Thaleia was so fearful of Hera’s wrath that she buried herself in the ground. And then her twin children “bloomed” out of the earth. The form of this movement is a kind of Fantasy, with each part of the story having it’s own section, punctuated by measures representing Thaleia’s inner dialog.
The second movement, Aglaea, the Grace of shining, is a slower movement describing an imagined conversation between her and her husband, Hephaestus, the crippled God of blacksmiths and carpenters. After his notorious and difficult marriage to Aphrodite, Hephaestus settled down with Aglaea. Beautiful Aglaea and Hephaestus were opposites, but apparently their marriage was fairly harmonious.
The third movement, Euphrosyne, the Grace of joy, represents her relationship with the demigod, Acratus, who was an attendant to Dionysus. He was the God of unmixed wine, and apparently put Bacchus to shame with his drinking abilities. He was also a companion of Euphrosyne. The movement begins in 7/4 planning her party. Then the party begins with dancing and under the influence of much wine, and mirth, it becomes more and more of a drunken affair, until everyone stops and then there is a blues section representing the hangover, and then finally recovery.
Notes By Kirstin Fife
September 10. 2020