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

Organization

Mezzosopran

Rupert Enticknap

Orlando

Sopran

Cigdem Soyarslan

Angelica

Gaia Petrone

Medoro

Anna Maria Sarra

Dorinda

Igor Bakan

Zoroastro

Dyrygent

Rubén Dubrovsky

Reżyseria

Stefania Panighini

Scenografia

Federica Parolini

Kostiumy

MusikTheater an der Wien

Wiedeń

Austria

Theater am Fleischmarkt

Approved

Instrumentalist

Pianista

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da Gambist

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Kompozytor / -ka

Libretto

Choreografia

Reżyseria światła

Taniec

Aktor

Przygotowanie chóru

Wideo

Dramaturgia

Tłumaczenie

Realizacja dźwięku

Korepetytor /- ka

Makijaż

Produkcja wykonawcza

Fryzjer

Other

Stage Manager

Chór

Orkiestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Baryton

Singer

Tenor

Kontralt

Kontratenor

Bas - baryton

Spoken

Głos dziecięcy

Silent

Alto

Continuo

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, pt 31 maj 2013, od (2013/2013), W reżyserii Stefania Panighini,, Dyrygent Rubén Dubrovsky, Theater am Fleischmarkt, Wiedeń, Austria

Udział w spektaklu (Obsada & realizacja )

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