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Venice Baroque Orchestra

The Swedish Nightingale
Thursday, February 27, 2020 7:30 PM Zankel Hall
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Gianpiero Zanocco, Ann Hallenberg by Örjan Jakobsson
Mezzo-soprano Ann Hallenberg pays tribute to a fellow Swede, legendary soprano Jenny Lind. Hallenberg, praised by The Guardian for her “sensational virtuosity and warm tone,” channels Lind in Baroque arias that abound in rich melody and pulse-quickening flash. She is joined by the Venice Baroque Orchestra—one of the great period-instrument ensembles—praised by The New York Times for its “fresh sound and rhythmic exuberance” in this unique program.

Part of: Baroque Unlimited


Venice Baroque Orchestra
Gianpiero Zanocco, Concertmaster and Leader
Ann Hallenberg, Mezzo-Soprano


VIVALDI Sinfonia in B Minor for Strings and Continuo, RV 168

HANDEL "Dopo l'orrore" from Ottone

TORRI "Quando il flebile usignolo" from L'Ippolito

VIVALDI Concerto in D Minor for Two Violins, Strings, and Continuo, RV 514

VIVALDI "Gelido in ogni vena" from Farnace

VIVALDI "Armatae face" from Juditha Triumphans, RV 644

VIVALDI Concerto in D Major for Strings and Continuo, RV 121

HANDEL "Crude furie" from Serse

HANDEL "Vieni, o figlio" from Ottone

VIVALDI Concerto in C Major for Strings and Continuo, RV 114

HANDEL "Scherza infida" from Ariodante

BROSCHI "Son qual nave" from Artaserse

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

This concert is supported, in part, by The Barbro Osher Pro Suecia Foundation.

In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

Tonight’s concert pays homage to the legendary Swedish soprano Jenny Lind, who beguiled audiences on both sides of the Atlantic with her virtuosity, sweetness of tone, and grace of character. In 1850, the “Swedish nightingale” embarked on a marathon tour of the US, initially under the auspices of P. T. Barnum, that jolted Americans’ sluggish love affair with opera into high gear. Although Lind’s repertoire centered on 19th-century bel canto opera and extended back no earlier than Mozart, her phenomenal celebrity recalled that of the legendary 18th-century castrati and divas for whom Vivaldi, Handel, and their contemporaries wrote some of their greatest music.

In the spirit of Lind’s popular potpourri programs—which typically mixed opera arias and folksongs with miscellaneous instrumental pieces—Ann Hallenberg and the Venice Baroque Orchestra intersperse selections from various Baroque operas and oratorios with four of Vivaldi’s instrumental concertos. Many of the latter were written for the talented female pupils of Venice’s Ospedale della Pietà, an orphanage and conservatory for girls where the composer served, on and off, as violin master. Whether vocal or instrumental, Baroque music is characterized by richly embellished melodies, clear-cut rhythms, and expressive, often intensely dramatic harmonies.

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