Name: Armida
Start: 2021-02-19T00:00:00.000Z
End: 2021-06-29T00:00:00.000Z
Location: Theater an der Wien

Admin

Organization

Librettist

Marco Coltellini

Singer

Soprano

Anna El-Khashem

Armida

Mezzo-soprano

Teresa Iervolino

Ismene

Countertenor

Vannina Santoni

Rinaldo

Baritone

Ashley Riches

Ubaldo

Conductor

Christophe Rousset

Lenneke Ruiten

Hagar Sharvit

Florie Valiquette

Libretto

MusikTheater an der Wien

Others

Chœur de Chambre de Namur

Orchestra

Les Talens Lyriques

italština

Vienna

Austria

Theater an der Wien

Grosser Pausenraum

Public

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

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

Contralto

Bass-baritone

Tenor

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

Armida, the beautiful niece of the ruler of Damascus, captured the imagination of 18th-century composers like no other sorceress. In Torquato Tasso’s epic poem La Gerusalemme liberata Armida has the task of preventing the crusaders from taking Jerusalem on behalf of her uncle by using all the magical and feminine arts at her disposal. In Handel’s Rinaldo she is the main female character, just as she is in Vivaldi’s Armida al campo d’Egitto. Jean-Baptiste Lully and Christoph Willibald Gluck placed the sorceress on the opera stages of Paris, Luigi Cherubini and Gioachino Rossini made her an Italian figure, and Antonin Dvořak wrote his last opera Armida in Czech for the National Theatre in Prague in 1904. In 1771 a young Italian composer chose the subject matter for his first large-scale opera, which he wrote for the Burgtheater at the age of twenty. Antonio Salieri from the Republic of Venice subsequently enjoyed a rapid rise at court in Vienna and became one of the central figures of his age in Viennese music, although historically he was destined always to be overshadowed by Mozart. Salieri’s librettist Marco Coltellini reduced the plot to three main protagonists. Armida is holding Rinaldo captive on an island, but has fallen in love with the knight. Rinaldo’s companion Ubaldo lands on the island to free first the enchanted knight and then, with him at his side, Jerusalem. Salieri aimed for an “opera of magic, heroism and love that is also touched by tragedy” and created a through-composed work that no longer rigidly adheres to the strict rules of opera seria, but espouses the ideas of reformed opera. This is already evident from the overture which is not an introductory sinfonia, but portrays Uberto’s arrival on the island. Salieri eschewed the alternation between recitative and aria in favour of more complex and dramatic scenes. The premiere was a great success for Salieri, Armida was soon given all over Europe and the opera became the first of his works to be printed in its entirety. Armida meant so much to Salieri that he continually revised the opera to mitigate the “inexcusable immaturity” of his youth.

English

Armida by Salieri, út 29 čvn 2021, Od (2021/2021), Dirigent Christophe Rousset, Theater an der Wien, Vienna, Austria

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Program, Informace a Synopsis

Fotografie

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