Bach: "Ich habe genug" (BWV 82a) / Nancy Argenta
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Johann Sebastian Bach (1685 - 1750). Cantata "Ich Habe Genug" (BWV 82): 1. Arie: Ich habe genug, Ich habe den Heiland, das Hoffen der Frommen, Auf meine begierigen Arme genommen; Ich habe genug! Ich hab ihn erblickt, Mein Glaube hat Jesum ans Herze gedrückt; Nun wünsch ich, noch heute mit Fre
uden Von hinnen zu scheiden. 1. Aria: I have enough, I have taken the Savior, the hope of the righteous, into my eager arms; I have enough! I have beheld Him, my faith has pressed Jesus to my heart; now I wish, even today with joy to depart from here. Ensemble Sonnerie. Soprano: Nancy Argenta.
Dir: Monica Huggett. Ich habe genug (I have enough) is a cantata by Johann Sebastian Bach. In Wolfgang Schmieder's catalogue of Bach's works, it is BWV 82. It was written in Leipzig for the Feast of the Purification on 2 February 1727. The Purification commemorates an incident recorded by St. Luk
e in which Mary takes the baby Jesus to the temple in Jerusalem to offer ritual sacrifices. The piece is written for oboe, strings, basso continuo and bass soloist. Other versions exist for soprano (as BWV 82a) with the oboe part replaced by flute and slightly altered. In modern practice, the bass
part is sometimes replaced by an alto and the soprano is sometimes replaced by a tenor. Several movements from this cantata can be found transcribed in the Notebook for Anna Magdalena Bach, transposed up a tenth so that they are singable by a low soprano, presumably done by Anna Magdalena Bach for
her own use.
Tags for this video: 82a Argenta Bach BWV Ensemble genug habe Huggett Ich Monica Nancy Sonnerie
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Faustina Bordoni, the wife of the composer Johann Hasse, was a celebrated opera singer. She and Hasse made their Dresden debut in 1731 performing her husband's opera Cleofide. It was in the churches where the biblical injunction "mulier tacit in ecclesia" ("a woman shall be silent in the church"
) was often enforced.
The era of Baroque music styles covers approximately the years from 1600 to 1750, which is the year J.S. Bach died. Hasse and his wife Faustina Bordoni, the celebrated opera singer, debuted his opera Cleofide in Dresden in 1731.
The greatest of all Baroque composers, Johann Sebastian Bach, died in 1750, which is generally considered to mark the formal end of the era of Baroque musical styles.
I corrected you by pointing out that Bach's 2nd wife was employed as a singer. Then you said that you meant women weren't allowed to sing opera. I corrected you again, citing the example of Faustina Bordoni. Now you claim "Early and mid-baroque performance in opera DID NOT allow women to perfo
rm". You're wrong again.
The biblical injunction, "mulier tacet in ecclesia" means "a woman shall be silent in church", not "a woman shall be silent in opera". Opera began in Italy around 1600 (also the start of Baroque). Almost immediately women were performing on the opera stage. In Elizabethan England women's roles
in plays were performed by men. I don't know how long this custom persisted.
"Mit Freude" would be grammatically correct for "with joy". "Freuden" is plural. "mit Freuden" is literally "with joys", but I think it may be used idiomatically to mean "willingly" or "cheerfully". "Nun wünsch ich, noch heute mit Freuden Von hinnen zu scheiden" may be translated as "Now I wis
h even today to depart cheerfully from this place."
But Bach's 2nd wife was a paid singer. Then you claimed you meant "[Bach's] true genius lies in the fact that women weren't even aloud to perform OPERA in those times..." But Bach, who lived in the Late Baroque, never wrote an opera! Never mind the fact that Faustina Bordoni was a celebrated B
aroque opera soprano. Your claims about Bach have been disproved.
I've already disproved YOUR claims about Bach, which is what began this discourse. Now it's now up to YOU to disprove my claims about "mulier tacet in ecclesia" and women in opera in Italy since the Early Baroque. FYI: Opera began in Italy, not in Shakespeare's Elizabethan England (which was La
te Renaissance, not Early Baroque), and Italy wasn't bound by English laws or customs.
But I can. Here is a literal, word for word, translation from German to English: I have enough, I have the saviour, the hoping of the god-fearing, into my eager arms taken; I have enough! I have him seen, My faith has Jesus on the heart pressed; Now wish I, yet today with joys from here to depa
rt.
Why don't YOU prove YOUR claim that during early- to mid-Baroque (basically the 17th century), women were not allowed to sing on the opera stage ANYWHERE in Europe.
Shakespeare is late Renassaisance, not Baroque (approx. 1600-1750). Women were not seen on stage until the very end of Renaissance, pushing into the Restoration. Eleanor "Nell" Gwyn (1650-1687) was one of the earliest English actresses to receive prominent recognition. I read somewhere that wo
men were singing opera in (some parts of)Italy "almost immediately". Surely not in Rome, but Rome didn't call the shots everywhere in Italy.
"Venice ... was the birthplace of public opera...there were several reasons that opera flourished in Venice perhaps more than in other Italian cities...other locations were not as conducive to public opera. For instance, women in Rome were forbidden to appear onstage in public...Needless to say, I
N VENICE THERE WERE NO LAWS PROHIBITING WOMEN FROM SINGING IN PUBLIC." I rest my case.
According to Columbia U.'s "OPERAS AND ORATORIOS IN EARLY BAROQUE MUSIC", Venice, THE BIRTHPLACE OF PUBLIC OPERA, had NO SUCH PROHIBITION. Venice's 1st public opera took place in the 1630s, about 50 years before Handel was born. Madames Bordoni and Cuzzoni were singing Handel operas in London f
rom 1726-1728 with Handel's opera company!