RINALDO. Concert performance
Georg Friedrich Haendel
|10/03/2018 - Sábado||20.30h||comprar|
10 March, 2018
Georg Friedrich Haendel
Coproduction with Festival de Música Antigua de Sevilla (FEMÀS)
With Centro Nacional de Difusión Musical (CNDM)
THE SPLENDOUR OF HÄNDEL RETURNS
“Rinaldo”, which premiered in London in 1711, comes to the stage of the Teatro de la Maestranza for the first time. In collaboration with the Festival de Música Antigua (FEMÀS) we will be transported back to the beautiful lyrical score of G. F. Händel who was the director of the Royal Academy of Music, as of 1719, after the triumph of the first Italian opera for the London stage.
Composed immediately after Händel’s time in Italy which was so decisive in his development, “Rinaldo” exhibits the characteristics of Italian opera of its epoch –exuberance, passion, vocal virtuosity- with such brilliance that it was an enormous and surprising success. It did away with the English audience’s rejection of scenic composition from the continent. The premiere was on February 24, 1711 at the Haymarket Theatre and the fact that the famous castrati Nicolo Grimaldi –Nicolini- and Valentino Urbani participated, certainly contributed to its success.
During the assault on Jerusalem around the year 1100 during the First Crusade, the love story between Almirena and the Christian warrior hero Rinaldo - prisoner of the powerful sorceress Armida, who despised Christian crusaders only to fall in love with one - has a number of fantastic and magical elements. It is based on the epic poem “Jerusalem Delivered” by the Italian poet Tasso which can be found in very many Baroque opera librettos. Händel himself, well known for his ability to recycle music and themes, did exactly this in Rinaldo. According to specialist Christopher Harwood in his study of the composer, there are some 15 numbers from earlier scores. To the surprise of his collaborators, Händel only took 15 days to compose the piece. His librettist Giacomo Rossi wrote “I saw the music completed of an opera by an extraordinary genius, to the utmost perfection, in only two weeks”
Although Rinaldo is famous because it has a number of well known and much loved arias such “Lascia chi´o pianga”, “Augelletti” or “Cara sposa”, among others, the opera’s brilliance, aside from its stellar moments, is maintained through its scenes where the attractive musical score shines with the melodic gift of Händel. In 1731, twenty years after its debut, the composer revised the work extensively by changing vocal tessitura, eliminating characters, and adding arias so as to round out what is perhaps one of his best operas. Hogwood writes that the arias were projected “to put the complete extension of the great castrado to the test” and this explains their tremendous difficulty.
The only criticism of the premier and the following 15 performances was the riskiness of certain scenic effects such as the storms, lightning, and fireworks. Addison made this ironic comment: “I hope the owner (Aaron Hill) has taken the sufficient steps to insure his theatre”.
Like so many of Händel’s serious operas, “Rinaldo” has been resuscitated in the last 30 years after being forgotten for more than two centuries. It was the first opera by Händel to be seen at the Metropolitan of New York in 1984 in a cast led by Marilyn Horne. Thanks to the “historically informed” criteria of interpreting Baroque music, we have recouped the wonderful sonorous universe of Händel: In the case of Rinaldo, it is the interpretations of Christopher Hogwood, Jean-Claude Malgoire, René Jacobs and Ottavio Dantone that stand out.
Harpsichordist Harry Bicket (Liverpool, 1961), who has conducted Händel at the Liceu in Barcelona, Covent Garden in London, or the Metropolitan in New York, will lead the The English Concert, a legendary Baroque ensemble in Europe, which he now heads. The voices will be Maite Beaumont, the acclaimed Canadian soprano Jane Archibald, Sascha Cooke, Joélle Harvey, Jakub Jósef Orliński, Luca Pisaroni and Owen Willetts.
EN TORNO A... Rinaldo
10 March, 2018
Sala de prensa (Access via the theatre reception entrance)
Free of charge until complete capacity
10 March, 2018
Stalls (Patio) 75€.
Balcony (1ª de Balcón) 70€.
Balcony (2ª de Balcón) 65€.
Terrace (1ª de Terraza) 58€.
Terrace (2ª de Terraza) 50€.
Slips (1ª de Paraíso) 44€.
Slips (2ª de Paraíso) 38€.
Slips (3ª de Paraíso) 34€.
BUY TICKETS ONLINE: 2 November. Possibility of printing tickets at home using the "ticket en casa" system.
BUY TICKETS AT BOX OFFICE: 12 February
Box Office. Paseo de Cristóbal Colón 22. 10.00 am-2.00pm. 5.30 - 8.30pm. Monday to Saturday and show days. Purchase of 4 tickets maximum per person.
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