{"id":19929,"date":"2021-07-20T09:45:45","date_gmt":"2021-07-20T07:45:45","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=19929"},"modified":"2021-09-24T16:42:47","modified_gmt":"2021-09-24T14:42:47","slug":"baroque-festival-rinaldo-georg-friedrich-haendel-ii-premiere","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/baroque-festival-rinaldo-georg-friedrich-haendel-ii-premiere\/","title":{"rendered":"BAROQUE FESTIVAL. RINALDO \/ GEORG FRIEDRICH HAENDEL. II PREMIERE"},"content":{"rendered":"
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It should come as no surprise that Aaron Hill, the director of the Queen’s Theatre in London, when wanting to introduce Italian opera to the English audiences, chose a fragment from the famous work Jerusalem Delivered<\/em> as the theme of the first premiere. The brilliant epic poem by Torquato Tasso combines historical themes (the story takes place during the First Crusade) with the Christian ethos and the world of magic. Set in this context, the captivating love story and compelling characters make the text a perfect premise for musical drama. The artistry of the Renaissance work had already been appreciated by Claudio Monteverdi, who devoted multiple madrigals to selected themes. What\u2019s more, operas with libretti based on fragments of Tasso’s poem were composed by Giulio Caccini, Jean Baptiste Lully and, of course, Georg Friedrich Haendel, among others.<\/p>\n

The libretto for Rinaldo<\/em> – an opera commissioned from a young but already recognized composer who had just arrived on the British Isles – was written by Giacomo Rossi. According to his account, it took Haendel only two weeks to compose the score. The numerous borrowings from his earlier works did not even in the slightest affect the quality of the new opera. The first performances took place in 1711 and received an enthusiastic reception. After twenty years of staging the work revised by the composer himself, the opera disappeared from opera houses for almost 200 years. Rediscovered in the 20th<\/sup> century, it is today considered one of the most exemplary works of Haendel in this genre and continues to inspire artists and music lovers alike.<\/p>\n

 <\/p>\n<\/div>\n

MUSIC DIRECTOR W\u0141ADYS\u0141AW K\u0141OSIEWICZ<\/strong>
\nDIRECTED BY JAROS\u0141AW KILIAN<\/strong>
\nSET DESIGN AND COSTUMES DOROTA KO\u0141ODY\u0143SKA
\n<\/strong>VIDEO PROJECTIONS MIKO\u0141AJ MOLENDA, MAREK ZAMOJSKI
\n<\/strong>CHOREOGRAPHY RUI ISHIHARA
\n<\/strong>LIGHTING DESIGN JACQUELINE SOBISZEWSKI
\n<\/strong>ASSISTANT DIRECTOR S\u0141AWOMIR JURCZAK<\/a>
\n<\/strong>II ASSISTANT DIRECTOR AGNIESZKA KOZ\u0141OWSKA<\/a>
\n<\/strong>ASSISTANT SET DESIGNER KAROLINA BRAMOWICZ
\n<\/strong>STAGE MANAGER TATIANA HEMPEL-GIERLACH<\/strong><\/p>\n

<\/h4>\n

CAST<\/h4>\n

GOFFREDO, LEADER OF THE CRUSADE\u00a0 JAN JAKUB MONOWID<\/strong>
\nALMIRENA, HIS DAUGHTER AND RINALDO’S BETROTHED\u00a0 OLGA PASIECZNIK<\/strong><\/a> \/ MA\u0141GORZATA TROJANOWSKA<\/strong>
\nRINALDO, CHRISTIAN KNIGHT\u00a0 ANNA RADZIEJEWSKA<\/strong><\/a>
\nEUSTAZIO, BROTHER TO GOFFREDO\u00a0 JAKUB FOLTAK<\/strong>
\nARGANTE, SARACEN KING OF JERUSALEM\u00a0 ANDRZEJ KLIMCZAK<\/strong><\/a> \/ PAWE\u0141 MICHALCZUK<\/strong><\/a>
\nARMIDA, SORCERESS AND QUEEN OF DAMASCUS\u00a0 MARTA BOBERSKA<\/strong><\/a>
\nMAGO CHRISTIANE, A HERMIT\u00a0 WOJCIECH GIERLACH<\/strong><\/a>
\nWOMAN FROM THE SEA\u00a0 IWONA LUBOWICZ<\/a><\/strong>
\nSIRENS\u00a0 JULITA MIROS\u0141AWSKA<\/a><\/strong>, JUSTYNA RECZENIEDI<\/strong><\/a>
\nHERALD\u00a0 S\u0141AWOMIR JURCZAK<\/strong><\/a><\/p>\n

THE FURIES – DANCERS RUI ISHIHARA, KRZYSZTOF JERZAK, JOANNA LICHOROWICZ-GRE\u015a<\/strong><\/p>\n

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

CONDUCTOR W\u0141ADYS\u0141AW K\u0141OSIEWICZ<\/strong><\/p>\n<\/div>\n

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 <\/p>\n

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Duration: approx. 3 h 10 min (2 intermissions)<\/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
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We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n