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Since the dawn of the revival of interest in Händel’s operas in the second half of the Twentieth Century, a number of renowned sopranos have sung the title rôle in Alcina with varying degrees of success, but it was the soprano who was perhaps the least-obvious Händelian among them who contributed most thrillingly to the reversal of Alcina’s fortunes: Dame Joan Sutherland. Broschi ignited the words with bursts of bravura fireworks, but Händel gave the story psychological depth that transcended (and continues to transcend) the plot’s pseudo-Medieval pageantry. Written for an illustrious cast that included soprano Anna Maria Strada del Pò in the title rôle, castrato Giovanni Carestini as Ruggiero, and tenor John Beard as Oronte, Alcina was liberally adapted from a libretto, now attributed by some musicologists to Antonio Fanzaglia, used seven years earlier by Riccardo Broschi, brother of the celebrated castrato Farinelli. Three months later, on 16 April, Covent Garden witnessed the première of another Händel adaptation of a subject derived from Orlando furioso, that of the sorceress Alcina and her ill-fated dalliance with the knight Ruggiero. The year began with the first production of Georg Friedrich Händel’s Ariodante, a splendid setting of a story drawn from Ludovico Ariosto’s then-widely-known epic Orlando furioso, a source of inspiration for composers during and beyond the Eighteenth Century. Kristi Brown-Montesano’s book, Understanding the Women of Mozart’s Operas.GEORG FRIEDRICH HÄNDEL (1685 – 1759): Alcina, HWV 34- Angela Meade (Alcina), Elizabeth DeShong (Ruggiero), Ying Fang (Morgana), Daniela Mack (Bradamante), Rexford Tester (Oronte), Michael Adams (Melisso) Washington National Opera Chorus and Orchestra Jane Glover, conductor ġ735 was a remarkable year in the history of London’s Theatre Royal, Covent Garden.
#ALCINA LA OPERA FREE#
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A delightful exercise in active listening!
#ALCINA LA OPERA HOW TO#
This Week’s Topic – How to Build an Opera: from Overture to Sceneįor this final session, we will look at the how Rossini and Wagner put their operas together-their distinct approaches to making Cenerentola and Tannhäuser musically coherent-from the overture to the arias and ensembles that make up larger scenes.