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 Write your opinion about this CD Gernot Heinrich, tenor · Krisztina Jónás, soprano · Terry Wey, countertenor
Adrineh Simonian, mezzosoprano · Radu Marian, soprano
Clemencic Consort · René Clemencic, artistic director and harpsichord
Il Nascimento dell’Aurora belongs to the genre of the serenata, which was so well-loved in the 18th century. These serenatas were chiefly short operas of tribute, set in arcadian-pastorale surroundings, staged either fully or partially, and often performed outdoors. Mythological figures first shown in the timeless world of legend leave their mythological framework at the end of the work to congratulate and pay tribute to an actual person. The commission for Il Nascimento dell’Aurora was presumably given to Albinoni between 1711 and 1717 to celebrate the birthday of Elisabeth Christine von Brunswick-Wolfenbüttel, wife of Emperor Karl VI. The work is for five solo voices, strings and continuo with obbligato theorbo. Il Nascimento dell’Aurora Festa pastorale Il Nascimento dell’Aurora belongs to the genre of the serenata, which was so wellloved in the 18th century. These serenatas were chiefly short operas of tribute, set in arcadian-pastoral surroundings, staged either fully or partially, and often performed outdoors. Mythological figures first shown in the timeless world of legend leave their mythological framework at the end of the work to congratulate and pay tribute to an actually living person. The commission for this serenata was presumably given to Albinoni between 1711 and 1717 by the emperor’s Venetian ambassador to celebrate the birthday of Elisabeth Christine von Brunswick-Wolfenbüttel, viceroy of Spain and wife of Emperor Karl VI. The author of the libretto remains unknown to this day. The work is set in the idyllic Tempe valley in Thessalia, Greece, through which the Peneus River flows and which was dedicated primarily to the Apollo cult. Apollo, the river god Peneus, the forest nymph Daphne, the wind god Zephyr and the flower goddess Flora are preparing for the birthday of the morning goddess Aurora, who at the end of the work will be presented as the equal of Elisabeth Christine. The pastorale serenata can thus end in the double tribute: “Viva l’Aurora, Elisa viva!” The elevation of historical, usually noble personalities into the realm of the mythic – which today seems so incomprehensible, even absurd – should not simply be rejected out of hand. It also reflects a spiritual tendency to project the purest and best elements of ourselves, our core – for whatever reasons – outwards. In this pastorale, love is freed of all earthly insignificance with almost superhuman means. A mythological song of praise to the highest form of altruistic love, as hardly exists anywhere in the world. In addition to Elisabeth Christine’s birthday, an allusion is made to the longed-for birth of a scion of the Emperor and Empress “Carlo” and “Elisa”, a scion who could bring peace to the entire world. The manuscript of this work (MS.17.738) is located in the Austrian National Library in Vienna. The Festa pastorale was conceived for five solo voices, strings and continuo, and obbligato theorbo. Between the introductory sinfonia which closes with a twice-repeated tutti ensemble and the final tutti, a series of recitatives and arias is heard. With few exceptions, the recitatives are accompanied only by continuo, the arias by obbligato string accompaniment. An aria of Apollo has an obbligato theorbo accompaniment. The first part of the tripartite sinfonia includes a highly noteworthy fugue; the last is simultaneously the first tutti ensemble. The string parts of the arias feature solid contrapuntal writing that effortlessly supports the broadly sweeping cantabile melodic lines. They demonstrate Albinoni’s exemplary and wonderful melodic imagination and the emotional depth of his music, the “grazioso modo del cantar” that he so highly estimated (from the preface to his op. 8). Translation: Elizabeth Gahbler Performers Clemencic Consort The Clemencic Consort is an international ensemble for early music under the direction of René Clemencic. It uses variable forces depending on the program performed. Singers and instrumentalists throughout the world have made it their task to interpret music from the medieval to the baroque – on historical instruments – with spirited authenticity. A schoolmasterly approach with moralizing undertone is consciously avoided. The Clemencic Consort has appeared at the world’s most significant music festivals. Not only its busy concert schedule, but also the great number of its – in some cases prizewinning – CD recordings and radio performances underscores the importance of the ensemble, which has made many works of earlier stylistic epochs accessible to a broad spectrum of the public – sometimes for the first time. Terry Wey – Kontratenor · countertenor 
Terry Wey was born in 1985 in Bern, Switzerland.
After moving to Vienna in 1994, he
soon became a leading soloist of the Vienna
Boys’ Choir. He began private vocal training
in 2001 with Prof. Kurt Equiluz and has studied
solo voice with Christine Schwarz at the
Vienna Conservatory since 2003, where he
completed both vocal as well as his piano
studies in 2006.Terry Wey has performed early music since joining the Gregorian Choralschola of the Vienna Hofburgkapelle in 1999. Since 2001 there has developed a close and multi-faceted collaboration (concerts, CD recordings) with the Clemencic Consort the artistic direction of René Clemencic. In November 2003, he recorded a solo CD with Handel arias for soprano, alto and tenor. In October 2004, together with five other professional singers, he founded the vocal ensemble “Cinquecento”, which has dedicated itself to performing music of the 14th to 16th centuries. In 2006, Terry Wey sang Adelberto in Handel’s Ottone at the Donau Festival Weeks; since July 2006 he has appeared regularly with the Huelgas Ensemble under Paul van Nevel. In September 2006, he debuted as Oberon in Britten’s A Midsummer Night’s Dream at the Bonn Opera followed by first projects with the Lautten- Compagney Berlin. In April and May 2007, he sang Andronico in Legrenzi’s Il Giustino at the Schwetzingen Festival under Thomas Hengelbrock. In the 2007/08 season, he is singing Roma in Landi’s Il Sant’Alessio with William Christie and Les Arts Florissants. Appearances in Caen, Paris, Geneva, Luxemburg, Nancy, London and New York are planned. In the Vienna State Opera’s new production of Britten’s Death in Venice under Seiji Ozawa, Terry Wey will sing Apollo (planned for 2009). Krisztina Jónás – Sopran · soprano 
Soprano Krisztina Jónás graduated from the
Ferenc Liszt Academy of Music in Budapest
in 1998. She attended master courses with Adrienne
Csengery, Júlia Hamari, Catherine Mackintos,
Walter C. Moore and Anna Reynolds.In 1996 and 2001 she was awarded the Artisjus prize for her work in performing and popularizing Hungarian music. Between 1999 and 2001 she received the Fischer Annie scholarship for performing arts. In September 1996, she was commissioned by Berlin’s Schaubühne to sing parts from György Kurtág’s Attila József Fragments in the play Der Pol by Vladimir Nabokov. She debuted in the Budapest Chamber Opera in 1997 and has since then achieved fame in Hungary for her performances of oratorios, songs and contemporary pieces. She is a regular participant of the Budapest Spring and Autumn Festivals, contemporary music programs and gives regular performances in Italy. In 2003 she won the Soros Foundation scholarship. 2004 – 3rd prize International Oratorio Singing Competition 2004 – “Spirit”: Solo CD with Budapest Saxophone Quartet 2003 – CD recording: “If music be the food of love” – Renaissance and Baroque Arias Radu Marian – Sopran · soprano 
A gift of nature – Radu Marian is probably the
only male singer of our day and age who
has been blessed with a natural soprano range.
He was born in Moldavia in 1977, and his exceptional
musical talent was already apparent at the
age of four. Parallel to his vocal and piano training
in Chisinau, Moscow and Bucharest, which
he completed with distinction as a concert soloist,
he began his intensive career as a soloist.Since 1999, he has studied in Rome with Flavio Colusso, with whom he has recorded the CD “Alia Vox”. Radu Marian has appeared in the Teatro de la Maestranza de Sevilla, at the Festival dei Due Mondi in Spoleto, in the Oratorio del Gonfalone in Rome, at the Concertgebouw in Amsterdam and in the new Auditorium in Rome. He has performed as a soloist with the Clemencic Consort since 2001. Renowned contemporary composers have dedicated works to him, including Flavio Colusso, Sergio Rendine, Carlo Crivelli and René Clemencic. Adrineh Simonian – Mezzosopran · mezzo-soprano 
The Tehran-born Armenian singer Adrineh
Simonian has lived in Vienna since 1977.
She first studied violin, piano and vocal pedagogy
at the Vienna Academy of Music and
then attended the School of Opera and Operetta
of the Vienna City Conservatory, where
she graduated with honors. She continued her
vocal studies with Prof. S. Vittucci and C.R.
Holmes. She has received numerous prizes
and awards, including the City of Vienna’s
prize for young artists in 1999 and the Third
Prize and Special Prize of the International
Belvedere Opera Competition in 2000.In the same year, she debuted with Eine Nacht in Venedig at the Chamber Opera. Other appearances soon followed, including in La Contessina at the Vienna Schauspielhaus with the Wiener Akademie under Martin Haselböck, in La Bohème at the Klangbogen Festival, and in Il re pastore under Adam Fischer at the Copenhagen Opera. Adrineh Simonian is a member of the Vienna Volksoper ensemble since 2001. She frequently performs nationally and internationally, including with the Clemencic Consort, with Dave Brubeck and his quartet at the Salzburg Festival Hall and with the Vienna Academy in the Musikvereinssaal under Martin Haselböck. She has sung concert recitals in Vienna, Rome and Paris. Gernot Heinrich – Tenor · tenor 
The Austrian tenor Gernot Heinrich began
his musical training as a member of the Vienna
Boys’ Choir. He studied singing teaching
under Adelheid Hornig and Eva Klietmann-
Bartfai. Gernot Heinrich performs regularly
in opera productions; he has sung in Handel’s
Acis and Galatea and Rodriguez’s Frida Kahlo,
in Weill’s Mahagonny and Schedlberger’s
Nero’s Comeback. In 2004 he performed in
Peri’s Eurydice and in Cavalli’s The Love of
Apollo and Daphne at the Vienna Kammeroper,
as well as in Dafne in Lauro (Fux), and
played the role of Don Ottavio in Mozart’s Don
Giovanni with great success. Most recently he
has sung in Le Balcon by Peter E. Eötvös and
in Requiem für Piccoletto by Dieter Kaufmann.
A further focus of his work lies in oratorios,
performing most recently at festivals in Thoronet
(France) and Crotone (Italy). Radio and CD
recordings document his career. Gernot Heinrich
also sings with the “Vienna Harmonists”,
an ensemble in the style of the Comedian Harmonists,
which has toured throughout Europe
with great success for a number of years, as
well as with the Vienna Voice Artists, a singing
formation comprising of a small number of singers
which focuses on early music.
Hiro Kurosaki – 1. Violine · 1st violin 
Hiro Kurosaki is a Japanese-Austrian musician
who grew up in Vienna. Today, he
is in great demand as an interpreter of early
music on historical instruments.He studied with Franz Samohyl at the Conservatory of Music and Performing Arts in Vienna and attended master classes with Nathan Milstein. As the winner of two significant violin competitions (“Henryk Wieniawski” in Poland and “Fritz Kreisler” in Vienna), his solo career took off at an early age, including concerts with the Royal Philharmonic Orchestra London, Staatskapelle Dresden, the Vienna Symphony and the Mozarteum Orchester Salzburg. For many years, Hiro Kurosaki has intensively studied the baroque violin and historical performance practice. He has worked closely with René Clemencic, Jordi Savall, William Christie and other renowned figures in the early music world. As soloist and concertmaster of “Les Arts Florissants” and “Cappella Coloniensis” as well as of “London Baroque” and the “Clemencic Consort”, Hiro Kurosaki has performed throughout Europe and regularly tours Japan, the USA and Australia. René Clemencic – Cembalo und Gesamtleitung harpsichord and artistic director 
René Clemencic is a composer, conductor,
recorder and clavichord virtuoso, harpsichordist
and organist, director and founder
of the Clemencic Consort, musicologist and
writer, philosopher as well as collector of emblematic
books and sculptures.He studied philosophy and musicology at the Sorbonne, the Collège de France as well as at the University of Vienna, where he completed his Doctor of Philosophy in 1956. He simultaneously studied music: recorder and harpsichord in Vienna, Holland and Berlin, musical form with Erwin Ratz, music theory with Schoenberg’s friend and student Josef Polnauer and J.M. Hauer’s twelve-tonetheory with Johannes Schwieger. René Clemencic has performed internationally as a recorder player and head of his own ensemble since 1957. He was in charge of the cycle “Musica Antiqua” of the Vienna Gesellschaft der Musikfreunde (which has presented over 150 programs with his own ensemble of music ranging from medieval to baroque), and has had his own “Clemencic Consort” series since fall 2005. Well over 100 records and CDs include him as soloist and director of the Clemencic Consort, as well as of other ensembles and orchestras. He has given concerts on all continents and won numerous international prizes such as the Edison, Grand Prix du Disque, Diapason d’Or and Prix Cecilia. In 1989, he was awarded the Golden Medal of Honor of the City of Vienna, the professional title “Professor” in 1996, and the “Anima Mundi” prize of the Biennale d’Arte Sacra di Venezia as well as the Prize of the City of Vienna.
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