|Giulio Cesare Synopsis|
|Giulio Cesare Libretto|
|Cornelia / Sesto|
|Contralto / Soprano|
|Previous scene:||Tu sei il cor di questo core|
|Next scene:||Eseguisti o Nireno|
Julia Hamari & Peter Schreier
"Giulio Cesare" Act1
Cornelia & Sesto
"Son nata a lagrimar"
Julia Hamari - Cornelia
Peter Schreier - Sesto
Karl Richter - Conductor
Recording - April 1969
Paintings - Guido Reni (1, 2 & 4) & Guido Cagnacci (3, 5 & 6)
-Special thanks to andrea585ny for her continuous support.
Guido Reni (1575 - 1642) was an Italian painter of high-Baroque style. Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style.
Guido Cagnacci (1601 1663) was an Italian painter of the late-Baroque period, belonging to the Forlì painting school and to the Bolognese School.
Born in Santarcangelo di Romagna near Rimini, he died in Vienna in 1663. He worked in Rimini from 1627 to 1642. After that, he was in Forlì, where absorbed the lesson of the Melozzo's painting.
Prior to that he had been in Rome, in contact with Guercino, Guido Reni and Simon Vouet. He may have had an apprenticeship with the elderly Ludovico Carracci. His initial output includes many devotional subjects. But moving to Venice under the name of Guico Baldo Canlassi da Bologna, he renewed a friendship with Nicolas Regnier, and dedicated himself to private salon paintings, often depicting sensuous naked women from thigh upwards, including Lucretia, Cleopatra, and Mary Magdalene. This allies him to a strand of courtly painting, epitomized in Florence by Francesco Furini, Simone Pignoni and others. In 1650, he moved to Venice. In 1658, he traveled to Vienna, where he remained under patronage of the emperor Leopold I.
His life was at times tempestuous, as characterized by his failed elopement (1628) with an aristocratic widow. Some contemporaries remark him as eccentric, unreliable and of doubtful morality. he is said to have enjoyed the company of cross-dressing models.
Cagnacci's work was, in one view, "entirely unappreciated by his contemporaries," but reassessed by modern critics; his painting is "warm with the heightened tones of grazing light, rich in the play of shadows and colors."
Cornelia e Sesto
Son nata/o a lagrimar/sospirar, e il dolce mio conforto,
ah, sempre piangerò.
Se il fato ci tradì,
sereno e lieto dì
mai più sperar potrò.
Cornelia and Sesto
I was born / or lagrimar / sigh, and my sweet comfort,
ah, I will always cry.
If fate betrayed us,
serene and happy
I can never hope again.