Name: Armida
Start: 2022-10-23T00:00:00.000Z
End: 2022-11-05T00:00:00.000Z
Location: O’Reilly Theatre

Organization

Wexford Festival Opera

Conductor

Norbert Baxa

Singer

Libuse Santorisova

A nymph

Set designer

Hartmut Schörghofer

Costume designer

Bass

Jozef Benci

Hydraot

Soprano

Jennifer Davis

Armida

Jan Hnyk

Petr

Baritone

Rory Dunne

Bohumir

Tenor

Gerard Schneider

Rinald

Seán Boylan

Muezzin

Josef Moravec

Sven

Josef Kovačič

Ubald

Siren

Stanisław Kuflyuk

Ismen

Chris Mosz

Dudo

Stage director

Assistant Lighting Designer

Daisy Long

Assistant Stage Director

Monika Hliněnská

Video designer

Raffaele Acquaviva

Lighting designer

D M Wood

J K Tyl Theatre

čeština

Wexford

Ireland

O’Reilly Theatre

Armida Dvořák,A

Public

Private

angličtina

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

Choreographer

Dancer

Actor

Chorus master

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Mezzo-soprano

Bass-baritone

Contralto

Countertenor

Spoken

Child vocalist

Silent

Alto

Continuo

Armida is based, unusually for a 20th-century opera, on a source that was especially popular in 17th- and 18th-century operas. Torquato Tasso’s Gerusalemme liberata, a largely mythified account of the Crusades, tells the story of the love of the Saracen sorceress Armida for the Christian warrior Rinaldo. It inspired around 100 operas and ballets — most famously operas by Handel, Gluck, Haydn. There was a late flowering of interest in the story in Rossini’s Armida in 1817, and then almost a century later Dvořák turned his attention to it.

His Armida was premiered four years after the much more famous Rusalka, with the same soprano creating both title roles. The difficult-to-understand aspect of the opera’s neglect has to do with Dvořák’s music, some of it very characteristic of the composer’s finest work — especially the music of his American period. It also represents the peak of his admiration for Wagner and to be fair, with its cast of Christian knights pitted against a pagan magician and female sorceress, to say nothing of an enchanted garden, Parsifal is not the most improbable model.

So it is fair to conclude that its neglect has more to do with the old-fashioned nature of the libretto — a throwback to Quinault’s text for Lully’s Armide — and it is hardly surprising that the story found little favour in fin de siècle Prague, where the opera was premiered in 1904. Although the librettist Vrchlický — a poet nominated for the Nobel Prize eight times — had already translated the whole of Gerusalemme liberata into Czech, it’s fair to say that he was better at oratorio texts than opera librettos. Not since his first opera, Alfred, had Dvořák set a non-Slavonic subject, making this perhaps something of a surprise turning in his last opera, but a fascinating one nonetheless.

English

Armida by Dvořák, pá 28 říj 2022, Od (2022/2022), Režie Hartmut Schörghofer,, Dirigent Norbert Baxa, O’Reilly Theatre, Wexford, Ireland

Výkonnostní kredity (Obsazení a tým )

Obsazení

Osádka

Koproducent

Program, Informace a Synopsis

Fotografie

Další čtení

Termíny a místa představení

Divadla/scény