Name: Orlando
Start: 2013-05-13T00:00:00.000Z
End: 2013-05-31T00:00:00.000Z
Location: Theater am Fleischmarkt

Organization

Singer

Mezzo-soprano

Rupert Enticknap

Orlando

Soprano

Cigdem Soyarslan

Angelica

Gaia Petrone

Medoro

Anna Maria Sarra

Dorinda

Bass

Igor Bakan

Zoroastro

Conductor

Rubén Dubrovsky

Stage director

Stefania Panighini

Set designer

Federica Parolini

Costume designer

MusikTheater an der Wien

Vienna

Austria

Theater am Fleischmarkt

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

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Tenor

Contralto

Countertenor

Bass-baritone

Baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Orlando Händel

Handel's Orlando was created during a time of London's worst cabal and operatic intrigue. The golden age in which Handel hurried from success to success was drawing to a close, as Orlando was Handel's last premiere at the King's Theater on January 27, 1733. For his next opera projects, the successful composer had to be content with the much simpler and far less prestigious setting of the Covent Garden Opera House. The moody audience immediately showed their affection for the newly founded Opera of Nobility and its star castrato Farinelli. However, Handel was determined to fight for the audience's favor and wanted to win it back with new, innovative ideas.

The hero Orlando goes mad because of an unrequited love for Angelica, Queen of Catai. Angelica loves Medoro, who left the shepherdess Dorinda because of her. But the master of the event is a friend of Orlando's, the magician Zoroastro. With his help freed from his love madness, Orlando returns disappointed of love to fight and fame.

Orlando represents the end of an era, but at the same time represents an interesting new beginning in Handel's oeuvre, as the composer turned dramatically and musically away from established artistic traditions, for example by reducing the da-capo arias or breaking up their strict form. Handel must have in Ludovico Ariosto's imaginative verse epic Orlando furiososaw a key to popular success through the old Roland saga from 1516, as he used it again in the next two years with Ariodante and Alcina .

Orlando - belonging to the genre of magic opera popular at the time - still has all the external characteristics of the opera seria, but the genre is ironically broken with a little wink.
This is also the case in the famous Orlando mad scene, which points far into the future and once again shows Handel as a great psychologist

English

Orlando by Händel, Dv. 17 Maig 2013, De (2013/2013), Dirigit per Stefania Panighini,, Director musical Rubén Dubrovsky, Theater am Fleischmarkt, Vienna, Austria

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