{"id":19880,"date":"2021-07-20T09:45:26","date_gmt":"2021-07-20T07:45:26","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=19880"},"modified":"2021-09-15T23:18:15","modified_gmt":"2021-09-15T21:18:15","slug":"rodelinda-georg-friedrich-haendel-2-2","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/rodelinda-georg-friedrich-haendel-2-2\/","title":{"rendered":"BAROQUE FESTIVAL. RODELINDA \/ GEORG FRIEDRICH HAENDEL"},"content":{"rendered":"

Rodelinda<\/em> is widely considered to be one of Georg Friedrich Handel’s finest operas. After its premiere on the 13th<\/sup> of February 1725 at the King’s Theater in London, the performance was shown thirteen more times. The reopening of the opera with a new cast in 1731 proved equally successful. The work was also staged in Hamburg (in 1735 and 1736), only to disappear from opera houses for almost two hundred years. In 1920, Rodelinda<\/em>, happily rediscovered by Oskar Hagen, a lecturer in art history at the University of G\u00f6ttingen, inaugurated the triumphant return of Handel’s works to opera stages.<\/p>\n

Handel’s love of opera is no secret. Having composed over forty titles, he devoted half of his creative life to this genre, investing not only his health and energy but also financial resources. The creation of Rodelinda<\/em> coincides with the heyday of Handel’s Royal Academy of Music, generously supported by King George I.<\/p>\n

The compact, very well-written libretto was prepared by Nicola Francesco Haym on the basis of an earlier libretto by Antonio Salvi, and the plot has its source in the works of Paul the Deacon of Aquileia, who, in his History of the Lombards<\/em>, recalls the story of the faithful and steadfast Queen Rodelinda. It is also possible that Handel himself participated in the final editing of the text used in the opera. The narrative is perfectly reflected in the clear and well-planned dramatic form of the work. Contrasting affects carry powerful emotions – love and hate, despair and hope.<\/p>\n

 <\/p>\n

MUSIC DIRECTOR KRZYSZTOF GARSTKA<\/strong><\/a><\/p>\n

DIRECTED BY ANDRZEJ KLIMCZAK<\/strong><\/a>
\nSET DESIGN MARLENA SKONECZKO<\/strong><\/a>
\nARTISTIC SUPERVISOR OLGA PASIECZNIK<\/strong><\/a>
\nCHOREOGRAPHY JACEK TYSKI<\/strong>
\nLIGHTING DESIGN\u00a0KAROLINA G\u0118BSKA
\n<\/strong>VIDEO PROJECTIONS\u00a0MAREK ZAMOJSKI
\n<\/strong>LIGHTING\u00a0PIOTR RUDZKI
\n<\/strong>ASSISTANT DIRECTOR\u00a0S\u0141AWOMIR JURCZAK<\/a>
\n<\/strong>II ASSISTANT DIRECTOR AGNIESZKA KOZ\u0141OWSKA<\/a>
\n<\/strong>SET MANAGER\u00a0TATIANA HEMPEL-GIERLACH, JUSTYNA ST\u0118PIE\u0143<\/strong><\/p>\n

CAST<\/strong><\/h4>\n

RODELINDA\u00a0 EWA LESZCZY\u0143SKA<\/b>
\nBERTARIDO KACPER SZEL\u0104\u017bEK\u00a0<\/strong>
\nGRIMOALDO RAFA\u0141 \u017bUREK<\/strong>
\nEDUIGE JOANNA TALARKIEWICZ<\/strong>
\nUNULFO RAFA\u0141 TOMKIEWICZ<\/strong>
\nGARIBALDO PAWE\u0141 MICHALCZUK
\n<\/strong>FLAVIO JAN CZAJKA
\n<\/strong>GUARDS S\u0141AWOMIR JURCZAK<\/a>, MIKO\u0141AJ ZG\u00d3DKA, PAWE\u0141 KOWALEWSKI<\/strong><\/p>\n

THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/strong><\/a><\/p>\n

 <\/p>\n

\n
Duration: 2 h 40 min<\/h5>\n
The seats in the auditorium are not numbered.<\/h5>\n
PLEASE NOTE: the entrance to the Royal Theatre in the \u0141azienki Park is located in Agrykola street.<\/strong><\/h5>\n
One hour before the performance as well as for an hour after it is finished, the audience can use the electric cart running between the Royal Theater and the \u0141azienki Gate at the corner of My\u015bliwiecka \/ Agrykola streets.<\/h5>\n
\n

We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n