Name: Radamisto
Start: 2013-01-20T00:00:00.000Z
End: 2013-01-31T00:00:00.000Z
Location: Theater an der Wien

Organization

Countertenor

David Daniels

Radamisto

Bass-baritone

Florian Boesch

Tiridate

Soprano

Sophie Karthäuser

Polissena

Mezzo-soprano

Patricia Bardon

Zenobia

Jeremy Ovenden

Tigrane

Conductor

René Jacobs

Stage director

Vincent Boussard

Costume designer

Christian Lacroix

Set designer

Vincent Lemaire

Lighting designer

Guido Levi

Video designer

Barbara Weigel

MusikTheater an der Wien

Orchestra

Freiburger Barockorchester

italià

Vienna

Austria

Theater an der Wien

alemany

Approved

RADAMISTO Georg Friedrich Händel

Radamisto formed the sensational beginning of George Frideric Handel's opera company in London, the Royal Academy of Music: King George I and the Prince of Wales attended the spectacular premiere
in April 1720 - women fought for the best seats and fell because of the narrowness and the Fainting heat; the success was huge. For a second series of performances in autumn 1720, Handel rewrote large parts of Radamisto, because now the famous castrato Senesino had arrived and took over the title role - all the virtuoso's possibilities were to be shown in the role of the sensitive Radamisto.

The desire for the wrong woman conjures war: Tiridate desires the wife of his brother-in-law Radamisto. In order to get hold of them, he takes to the field against all of his relatives. But the much sought-after Zenobia does not want the victorious general. She steadfastly loves her husband and is ready to die rather than belong to another. Again and again the lovers are in mortal danger due to the frenzy of Tiridate, finally they are separated when Zenobia prefers to plunge into a river than to fall into the hands of Tiridate. But the tyrant also torments his people for his passion until it becomes too much for them. In the end, the soldiers rise up against his will. Tiridate has to give in and it comes to the obligatory “lieto fine”, the happy ending. Radamisto and Zenobia are reunited,

Since Handel wanted to amaze the Londoners with the virtuosity of Italian opera and had an excellent ensemble available, an ornate, lavishly orchestrated composition was created. But this drama about a loving couple also contains some of Handel's most touching slow arias, especially the famous “Ombra cara” - “Beloved shadow”, Radamisto's longing mourning song for the soul of his supposedly drowned wife. Handel himself considered this aria to be one of the most beautiful he has ever written. In 1728 Handel revised the opera again and put it back on the repertoire.

English

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