Name: Agrippina
Start: 2009-09-26T00:00:00.000Z
End: 2009-09-26T00:00:00.000Z
Location: Theater an der Wien

Organization

Singer

Soprano

Svetlana Doneva

Agrippina

Countertenor

Paula Rasmussen

Nerone

Klara Ek

Poppea

Contralto

Iestyn Davies

Ottone

Bass

Umberto Chiummo

Claudius

Raffaele Costantini

Pallante

Matteo Ferrara

Lesbus

Conductor

Alan Curtis

Antonio Giovannini

Narcissus

Juno

MusikTheater an der Wien

Orchestra

Il Complesso Barocco

taliančina

Vienna

Austria

Theater an der Wien

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Baritone

Tenor

Bass-baritone

Mezzo-soprano

Alto

Child vocalist

Continuo

Silent

Spoken

The young Handel spent four years in Italy before, towards the end of his journey, on December 26, 1709, at the Teatro San Giovanni Grisostomo in Venice, he staged Agrippina. The opera saw 27 follow-up performances, which were extremely rare in Italy at the time: an extraordinary success for the 24-year-old composer. Handel experienced the high point of his stay in Italy in Venice and was extremely keen to experiment in dramma per musica. In addition to dacapo arias, he composed song-like parts and short ensembles. He carelessly mixed what had already been composed with bold innovations. The libretto came from the clergyman and diplomat Cardinal Grimani, who created one of the best dramaturgical models for a Handel opera with precise characterizations and the skilful linking of the storylines. For his own benefit,

Empress Agrippina wants to gain power in the state for her son Nerone. He should prepare himself for rule and win over the people. The news of the false death of her husband Claudio triggers a satirical, erotic game of intrigue about supremacy in ancient Rome, in which Cardinal Grimani the age under Pope Clement XI. and portrayed the dispute over the Spanish succession with a great sense of pathos and parody. In contrast to the bloody story, however, in the end, Emperor Claudio grants everyone what they originally desired: love for one, power for others.

Handel's biographer, the theologian John Mainwaring, noted full of praise about this late bloom of Venetian court culture: “The audience at the Handel performance was so charmed that a stranger of the kind with which the people were moved would have thought they were all insane . ”And Mainwaring reported enthusiastically about the performance:“ Whenever there was a short break, the audience shouted: Viva il caro Sassone, long live the dear Saxon! ”

English

Agrippina by Händel, so 26 sep 2009, Od (2009/2009), Dirigent Alan Curtis, Theater an der Wien, Vienna, Austria

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