Name: Messiah
Start: 2020-12-17T00:00:00.000Z
End: 2020-12-17T00:00:00.000Z
Location: Theater an der Wien

Admin

Organization

Zanger

Soprano

Carolyn Sampson

Contralto

Hilary Summers

Alto

Tenor

Joshua Ellicott

Bass

Matthew Brook

Dirigent

Robert King

Libretto

Charles Jennens

MusikTheater an der Wien

Others

Choir of The King's Consort

Orchestra

The King's Consort

Engels

Messiah -  (De Messias)

Wenen

Oostenrijk

Theater an der Wien

Grosser Pausenraum

De Messias

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 Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Acteur

Broadcasting

Chefdirigent Musiktheater

Choreograaf

Chorus Director

Componist

Danser

Dramaturg

Extra

Geluidsontwerper

Haar stylist

Illustrator

Koor

Koor meester

Kostuum ontwerper

Librettist

Licht ontwerper

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Poet

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Uitvoerend producent

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Wig & Makeup Designer

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Writing and performance

Baritone

Countertenor

Bass-baritone

Mezzo-soprano

Child vocalist

Continuo

Silent

Spoken

George Frideric Handel is one of the few composers in history whose works have been performed continuously since their deaths. However, this lasting popularity is due less to his operas, the majority of which were not rediscovered until the 20th century, than to his choruses. At the popular Handel festivals in the 19th century his works were performed with 300-strong choirs and 250 orchestra musicians. The most famous of these choruses, the “Hallelujah” chorus, is from Handel’s oratorio Messiah and has been used many times in many different media. In the 1740 season, Handel once again tried to rekindle London audiences’ interest in Italian opera, but his efforts were in vain. Enthusiasm along the Thames had switched to the genre of oratorio in which Handel had celebrated his first success with Saul in 1739. The libretto had been written by a wealthy landowner and admirer of Handel, Charles Jennens, who in 1741 sent him a second unsolicited libretto titled Messiah. The work is structured like a theological pamphlet. It does not tell a chronological story and the title character does not appear either. For the pious Jennens it was far more important to show, by juxtaposing the Old and New Testaments, that Jesus really is the messiah as described in the prophecies. Handel, who had just recovered from serious illness, was personally moved by Jennens’ text and is said to have composed the oratorio in only 24 days. In the abstract sequence of scenes the struggle for faith becomes the central theme, and Handel finds magnificent sounds to portray human fears and feelings of guilt, for hope and ultimately for the salvation that has been prophesied. The premiere during a series of concerts in Dublin, Ireland, was well received although it led to heated arguments about whether it was permissible to show a work with biblical texts on a theatre stage with a secular choir. Handel’s music won through and since the 1750s the popularity of his oratorio has remained undiminished.

English

De Messias by Händel, do. 17 dec 2020, Van (2020/2020), Dirigent Robert King, Theater an der Wien, Wenen, Oostenrijk

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