Ridderstolpe: Untold Tales Kristina Hammarström & Anna Paradiso

• Caroline Ridderstolpe (1793 - 1878): Vad vill den ensamma tåren:
• 1 Ridderstolpe: Vad vill den ensamma tåren 02:10
• De tvenne källorna:
• 2 Ridderstolpe: De tvenne källorna 04:01
• Otros artiklar:
• 3 Ridderstolpe: Otros artiklar 03:48
• Lied ohne Worte:
• 4 Ridderstolpe: Lied ohne Worte 02:16
• Flickan i Sätersdal:
• 5 Ridderstolpe: Flickan i Sätersdal 09:05
• Vår och höst:
• 6 Ridderstolpe: Vår och höst 04:18
• Uppenbarelsen:
• 7 Ridderstolpe: Uppenbarelsen 04:41
• Budskapen:
• 8 Ridderstolpe: Budskapen 01:15
• Sostenuto con molta espressione:
• 9 Ridderstolpe: Sostenuto con molta espressione 03:56
• Vad är glädjen:
• 10 Ridderstolpe: Vad är glädjen 04:24
• Kontemplation:
• 11 Ridderstolpe: Kontemplation 00:59
• Den tiggande modren:
• 12 Ridderstolpe: Den tiggande modren 04:07
• Ett barns aftonsbön:
• 13 Ridderstolpe: Ett barns aftonsbön 03:43
• Nichts und Etwas:
• 14 Ridderstolpe: Nichts und Etwas 03:06
• Din kärlek:
• 15 Ridderstolpe: Din kärlek 05:04
• Lied ohne Worte - Poco Larghetto:
• 16 Ridderstolpe: Lied ohne Worte - Poco Larghetto 03:32
• Längtan:
• 17 Ridderstolpe: Längtan 01:40
• Total Runtime 01:02:05

Info for Ridderstolpe: Untold Tales

Caroline Ridderstolpe's music remained virtually unknown for almost 200 years, until Anna Paradiso rediscovered it as part of her research into nineteenth-century Swedish salon music. Born in Berlin, Ridderstolpe received an extensive musical education that included singing, instrument-playing and composition. After her marriage to a member of the Swedish aristocracy, she settled in Sweden, participated in the salons held at the royal court and socialised with some of the finest musicians, writers and painters of her time. Ridderstolpe mainly composed songs and pieces for solo piano that belong to the genre of salon music which, far from being mediocre as is sometimes claimed, actually allows greater intimacy with the listeners. Ridderstolpe's songs are often based on poems by Swedish writers and represent a perfect union of text and music. According to Anna Paradiso, Caroline Ridderstolpe's music has a kind of sadness and depth that could be described as 'modern', reminiscent of the lieder of Beethoven, Schubert and the Schumanns. In keeping with the soundscape of Ridderstolpe's era, the music is performed here by Anna Paradiso on an original square piano whose particularity and charm lie not in the evenness of all the notes as one might expect from a modern instrument, but rather in the independent beauty of each string. This instrument is combined with the expressive voice of the eminent mezzo-soprano Kristina Hammarstrom. By giving once more a voice to Caroline Ridderstolpe's music, the performers wish to cast new light on women's power over their own creativity and therefore over their own lives.

Kristina Hammarström, mezzo-soprano
Anna Paradiso, fortepiano

Kristina Hammarström
appears regularly at leading opera houses and prestigious festivals. These include La Scala, Milan, the Vienna State Opera, the Theater an der Wien, the Paris Opéra, the Théâtre des Champs-Élysées, the Théâtre du Capitole in Toulouse, the Grand Théâtre de Genève, La Monnaie in Brussels, the Dutch National Opera in Amsterdam, Opera Vlaanderen in Antwerp, the Berlin State Opera, the Grand Théâtre du Luxembourg, the ABAO in Bilbao, the Lyric Opera of Chicago, the Royal Swedish Opera in Stockholm, the Norwegian Opera in Oslo, the Festival d’Aix-en-Provence, the Innsbruck Festival of Early Music and the Drottningholm Palace Theatre Festival.

Her repertory includes an impressive number of roles in Baroque operas, along with Charlotte (Werther), Octavian (Der Rosenkavalier), Arsace (Semiramide), Rosina (Il barbiere di Siviglia), Marguerite (La Damnation de Faust), Cecilio (Lucio Silla), Ascanio (Ascanio in Alba), Idamante (Idomeneo) and many other roles.

Kristina Hammarström is also in demand as a concert singer, and performs at concert halls and festivals throughout Europe and Asia. Her repertory includes Berlioz’s Les Nuits d’été, Mahler’s Kindertotenlieder, Rückert Lieder, Lieder eines fahrenden Gesellen, Des Knaben Wunderhorn and Das Lied von der Erde, Brahms’s Alto Rhapsody, Elgar’s Sea Pictures, Bernstein’s First Symphony (Jeremiah), Beethoven’s Missa solemnis and Ninth Symphony, Schumann’s Das Paradies und die Peri, and numerous masses and oratorios.

She works regularly with conductors including Herbert Blomstedt, Gianluca Capuano, William Christie, Alessandro De Marchi, Adam Fischer, Alan Gilbert, Emmanuelle Haïm, Philippe Herreweghe, Manfred Honeck, René Jacobs, Fabio Luisi, Andrea Marcon, Marc Minkowski, John Nelson, Yannick Nézet-Séguin, George Petrou, Christophe Rousset and Jean-Christophe Spinosi.

In addition to a solo album of Vivaldi arias, Kristina Hammarström’s discography includes Handel’s Giulio Cesare (title role), Alessandro Severo (Giulia), Orlando (Medoro), Catone (Arbace) and Messiah, Mozart’s Idomeneo (Idamante), Mitridate (Farnace), Lucio Silla (Cecilio) and Requiem, and Bach’s Christmas Oratorio. She has appeared on DVD as Bradamante (Alcina), Daniel (Belshazzar), Bradamante in Vivaldi’s Orlando furioso and Medea in Cavalli’s Giasone.

Booklet for Ridderstolpe: Untold Tales