Name: Achille in Sciro
Start: 2023-02-17T00:00:00.000Z
End: 2023-02-25T00:00:00.000Z
Location: Teatro Real

Organization

Lighting designer

Ulrik Gad

Conductor

Ivor Bolton

Stage director

Mariame Clément

Set designer

Julia Hansen

Choreographer

Mathieu Guilhaumon

Countertenor

Tim Mead

Ulisse

Soprano

Francesca Aspromonte

Deidamia

Sabina Puértolas

Teagene

Franco Fagioli

Achille

Pirra

Tenor

Krystian Adam

Arcade

Bass

Mirco Palazzi

Licomede

Gabriel Diaz

Iolanda Massimo

Costume designer

Harpsichord

Juan Sancho

Nearco

MusikTheater an der Wien

Teatro Real de Madrid

Others

Coro Intermezzo

Orchestra

Orquesta Barroca de Sevilla

Caio Duran

Achille in Sciro -  (Achilles in Scyros)

Madrid

Spain

Teatro Real

Sala Principal

Disguise and transvestism were an essential part of opera plots from the Venetian origins of this genre. In line with this tradition -   continued by ópera seria – the episode of Aquiles on the island of Esciros inspired more than 30 compositions for voice based on the libretto of Metastasio in 1737: Tetis, mother of Aquiles, disguises her son as a woman to hide him in the court of King Licomedes and prevent his participation in the Trojan War.  (What else is missing?). However, the plan begins to come apart when Aquiles, incapable of subduing his virility, falls in love with Princess Deidamia.

Francesco Corselli is a fundamental name in Spanish opera of the 18th century:  as Kapellmeister of the Royal Chapel of Madrid for nearly 30 years, he was the principal supplier of opera to the Spanish court. Some of these were under the artistic direction of the famous castrato Farinelli. First seen in 1744 at the Real Coliseo del Buen Retiro in Madrid, Achille in Sciro was composed to celebrate the marriage of the Infanta of Spain, Maria Teresa Rafaela to the Dauphin of France. Staging this opera was postponed by the interruption of the pandemic and it represents a momentous milestone in the recovery of our musical heritage.

Achille in Sciro Corselli

Public

Private

Achilles in Scyros

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

Oboist

hornist

Bassoonist

Trumpeter

Contrabassist

Harper

Trombonist

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Singer

Mezzo-soprano

Bass-baritone

Contralto

Baritone

Spoken

Child vocalist

Silent

Alto

Continuo

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Costumes and cross-dressing have been an essential part of operatic plots since the Venetian origins of this genre. In line with this tradition –continued by serious opera–, the episode of Achilles on the island of Esciros inspired more than thirty lyrical compositions from Metastasio's 1737 libretto: Thetis, mother of Achilles, disguises her son of a woman to hide him in the court of King Lycomedes and thus prevent his participation in the Trojan War (what could go wrong?). However, the plan begins to fail when Achilles, unable to break his virility, falls in love with the princess Deidamia.

Francesco Corselli is a fundamental name in 18th-century Spanish opera: as master of the Royal Chapel in Madrid for nearly 30 years he was the main supplier of operas to the Spanish court, some of them under the artistic direction of the famous castrato Farinelli. Premiered in 1744 at the Real Coliseo del Buen Retiro in Madrid, Achille in Sciro was composed to celebrate the marriage of the Infanta María Teresa Rafaela with the Dauphin of France. Its staging, postponed due to the outbreak of the pandemic, represents a great milestone in the recovery of our musical heritage.

English

Los disfraces y el travestismo formaron parte esencial de las tramas operísticas desde los orígenes venecianos de este género. En línea con esta tradición –continuada por la ópera seria–, el episodio de Aquiles en la isla de Es-ciros inspiró más de una treintena de composiciones líricas a partir del libreto de Metastasio de 1737: Tetis, madre de Aquiles, disfraza a su hijo de mujer para ocultarlo en la corte del rey Licomedes e impedir así su participación en la guerra de Troya (¿qué podría fallar?). Sin embargo, el plan comienza a hacer aguas cuando Aquiles, incapaz de doblegar su virilidad, se enamora de la princesa Deidamia.

Francesco Corselli es un nombre funda-mental de la ópera española del siglo XVIII: como maestro de la Capilla Real de Madrid durante cerca de 30 años fue el principal su-ministrador de óperas de la corte española, algunas de ellas bajo la dirección artística del célebre castrato Farinelli. Estrenada en 1744 en el Real Coliseo del Buen Retiro de Madrid, Achille in Sciro se compuso para celebrar el casamiento de la infanta María Teresa Rafaela con el delfín de Francia. Su escenificación, postergada por la irrupción de la pandemia-supone un gran hito en la recuperación de nuestro patrimonio musical.

español

Achilles in Scyros by Corselli, pe 17 helmi 2023, Alkaen (2023/2023), Ohjannut Mariame Clément,, Musiikinjohto Ivor Bolton, Teatro Real, Madrid, Spain

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