Organization

Händel-Festspiele Halle

Conductor

Nicolas Kierdorf

Stage director

Ute M Engelhardt

Set designer

Jeannine Cleemen

Costume designer

Moritz Weißkopf

Dramaturge

Stefffen Voss

Singer

Mezzo-soprano

Julia Spies

Cinea

Soprano

Anne-Aurore Cochet

Sestia

Bass

Lukasz Konieczny

Caio Fabbricio

Countertenor

Julie Vercauteren

Volusio

Fanny Lustaud

Pirro

Contralto

Yeagook Kang

Turio

Melina Meschkat

Bircenna

Concert Royal Köln

Orchestra

Barockorchester Concert Royal Köln

italijanščina

HWV A9 | Pasticcio von Johann Adolph Hasse in der Bearbeitung von Georg Friedrich Händel

Bad Lauchstaedt

Germany

Goethe-Theater

Caio Fabbricio: Caio Fabbricio Händel

Public

nemščina

Approved

“CajoFabbricio”, which Handel performed in London in December 1733, is an adaptation of the opera of the same name written by JA Hasse in Rome the year before. Hasse's modern Neapolitan style was intended to emphasize the skills of the two new castrati in Handel's ensemble, Giovanni Carestini and Carlo Scalzi, who were to be used as weapons in the fight against the competition from the "Opera of the Nobility" with its stars Farinelli and Senesino. The libretto was written by the Viennese court librettist A. Zeno. It deals with the moral contest between the Greek king Pyrrhus and the Roman senator CajoFabbricio, who meet as military opponents at the gates of the southern Italian city of Taranto. At the heart of the opera is the king's tempestuous but unrequited love for Fabbricio's daughter, which he finally overcomes after misunderstandings, fits of jealousy and attempted murder. In Handel's version, the original was radically shortened so that Zeno's lengthy, heavily moralizing dialogues and monologues were reduced to a minimum; the father figure of the title hero was cut down so much that Carestini's Pirro now became the dominant protagonist. Handel composed the brief recitatives from scratch for his arrangement, but retained a large number of Hasse's arias. As usual in a pasticcio, arias by other composers were also inserted; music by L. Vinci, A. Predieri, T. Albinoni, G. Sellitto and L. Leo, among others, appears in the score. In Handel's version, the original was radically shortened so that Zeno's lengthy, heavily moralizing dialogues and monologues were reduced to a minimum; the father figure of the title hero was cut down so much that Carestini's Pirro now became the dominant protagonist. Handel composed the brief recitatives from scratch for his arrangement, but retained a large number of Hasse's arias. As usual in a pasticcio, arias by other composers were also inserted; music by L. Vinci, A. Predieri, T. Albinoni, G. Sellitto and L. Leo, among others, appears in the score. In Handel's version, the original was radically shortened so that Zeno's lengthy, heavily moralizing dialogues and monologues were reduced to a minimum; the father figure of the title hero was cut down so much that Carestini's Pirro now became the dominant protagonist. Handel composed the brief recitatives from scratch for his arrangement, but retained a large number of Hasse's arias. As usual in a pasticcio, arias by other composers were also inserted; music by L. Vinci, A. Predieri, T. Albinoni, G. Sellitto and L. Leo, among others, appears in the score. the father figure of the title hero was cut down so much that Carestini's Pirro now became the dominant protagonist. Handel composed the brief recitatives from scratch for his arrangement, but retained a large number of Hasse's arias. As usual in a pasticcio, arias by other composers were also inserted; music by L. Vinci, A. Predieri, T. Albinoni, G. Sellitto and L. Leo, among others, appears in the score. the father figure of the title hero was cut down so much that Carestini's Pirro now became the dominant protagonist. Handel composed the brief recitatives from scratch for his arrangement, but retained a large number of Hasse's arias. As usual in a pasticcio, arias by other composers were also inserted; music by L. Vinci, A. Predieri, T. Albinoni, G. Sellitto and L. Leo, among others, appears in the score.

The specialist ensemble set up by oboist Karla Schröder aims to rediscover 18th-century music and bring it to the stage. Here competent interpreters have been found who have mastered their craft and bring the unknown work of Hasse and Handel to life with fantastic tonal homogeneity, technical finesse and historical knowledge

English

Das Ticket berechtigt am Konzerttag von 10.00 bis 18.00 Uhr zum freien Eintritt in die Dauerausstellungen „Neues Schillerhaus” und „Badegeschichte im Douche-Pavillon”.

„CajoFabbricio“, das Händel im Dezember 1733 in London aufführte, ist eine Bearbeitung der gleichnamigen, ein Jahr zuvor in Rom entstandenen Oper von J. A. Hasse. Mit Hasses modernem neapolitanischen Stil wollte man die Fähigkeiten der beiden neuen Kastraten in Händels Ensemble, Giovanni Carestini und Carlo Scalzi, besonders hervorheben, die als Waffen im Kampf gegen die Konkurrenz der „Opera ofthe Nobility“ mit deren Stars Farinelli und Senesino eingesetzt werden sollten.Das Libretto stammt vom Wiener Hoflibrettisten A. Zeno. Es behandelt den moralischen Wettstreit zwischen dem griechischen König Pyrrhus und dem römischen Senator CajoFabbricio, die als militärische Gegner vor den Toren der süditalienischen Stadt Tarent aufeinandertreffen. Im Mittelpunkt der Oper steht die stürmische, aber unerwiderte Liebe des Königs zu der Tochter Fabbricios, die er nach Missverständnissen, Eifersuchtsanfällen und Mordanschlägen schließlich überwindet. In Händels Fassung wurde die Vorlage radikal gekürzt, so dass die weitläufigen, stark moralisierenden Dialoge und Monologe Zenos auf ein Minimum reduziert wurden; dabei wurde die Vaterfigur des Titelhelden so stark zusammengestrichen, dass nun der von Carestini dargestellte Pirro zum dominierenden Protagonisten avanciert. Händel komponierte für seine Bearbeitung die knappen Rezitative völlig neu, dagegen behielt er eine große Zahl der Arien Hasses bei. Wie in einem Pasticcio üblich, wurden dabei aber auch Arien anderer Komponisten eingefügt; so taucht unter anderem Musik von L. Vinci, A.Predieri, T. Albinoni, G.Sellitto und L. Leo in der Partitur auf.

Das von der Oboistin Karla Schröter ins Leben gerufene Spezialisten-Ensemble hat das Ziel, Musik des 18. Jahrhunderts wiederzuentdecken und auf die Bühne zu bringen. Hier hat man kompetente Interpreten gefunden, die ihr Handwerk beherrschen und das unbekannte Werk von Hasse undHändel mit fantastischer klanglicher Homogenität, technischer Finesse und historischer Kenntnis lebendig werden lassen.

Deutsch

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