Name: Collegium 1704 The Messiah
Start: 2024-03-24T00:00:00.000Z
End: 2024-03-24T00:00:00.000Z
Location: Teatro de la Maestranza

Organization

Festival de Música Antigua de Sevilla

Conductor

Václav Luks

Teatro Maestranza

Orchestra

Collegium 1704

Others

Chœur Collegium 1704

Collegium 1704 The Messiah

Seville

Spain

Teatro de la Maestranza

Sala Principal

Collegium 1704 The Messiah: Messiah Händel

Public

Private

Messiah HWV 56

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Baritone

Singer

Bass-baritone

Contralto

Tenor

Soprano

Mezzo-soprano

Countertenor

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

Elegancia y emoción checas para un Mesías

El Mesías, que G. F. Händel compuso en 1741, tan vinculado tradicionalmente a las festividades navideñas, es uno de esos oratorios que no nos cansamos de oír, especialmente cuando llegan servidos por formaciones especializadas como el Collegium 1704, una formación checa -unida al coro Collegium Vocale 1704- fundados en Praga en 2005 por el clavecinista Václav Luks. Desde entonces, y por su alta calidad, el combo se ha convertido en una de las orquestas barrocas europeas más solicitadas en festivales y programaciones -como el Festival de Salzburgo o el Centro de Música Barroca de Versalles.

El oratorio, sobre libreto de Charles Jennens, un devoto anglicano, y cuya primera acogida en su estreno en Dublín el 13 de abril de 1742 fue tibia, se desmarca de la influencia italiana en su obra anterior y ancla sus referencias en las pasiones alemanas. Compuesto en unas 3 semanas -Stefan Zweig dejó narradas las peripecias de su escritura identificando a El Mesías como la forma curativa con la que Händel resolvió sus dolencias por una apoplejía sufrida años antes- con unas prisas que dejaron sus huellas en los borrones de la partitura autógrafa de 259 páginas, Händel concibió El Mesías para unos efectivos modestos, pero a finales del siglo XVIII se impuso la moda de interpretarlo con formaciones gigantescas de hasta un coro de 2.000 cantantes y una orquesta de 500 músicos. Eso dio fama y solemnidad a la obra, pero también la enterró en un pesado gigantismo musical del que fue rescatada por el movimiento historicista que reivindicó la transparencia y suavidad de sus 53 números, algunos tan populares como And the glory of the Lord…, O thou that tellet Good Tidings to Zion o For unto Us a Child is Born, entre muchos, más el celebérrimo Aleluya que, según la leyenda, el rey Jorge II escuchó de pie en el Covent Garden de Londres en 1743 obligando a todo el teatro, por orden de protocolo, a ponerse igualmente de pie. Hoy, ese gesto es una metáfora de reconocimiento a la genialidad de un compositor que llevó la coralidad hasta un extremo deslumbrante.

español

Czech elegance and emotion for a  Messiah

The Messiah , which GF Händel composed in 1741, so traditionally linked to the Christmas festivities, is one of those oratorios that we never tire of hearing, especially when they are served by specialized groups such as the Collegium 1704, a Czech group - linked to the Collegium choir Vocale 1704- founded in Prague in 2005 by harpsichordist Václav Luks. Since then, and due to its high quality, the combo has become one of the most requested European baroque orchestras at festivals and programming -such as the Salzburg Festival or the Versailles Baroque Music Center.

The oratorio, on a libretto by Charles Jennens, a devout Anglican, and whose first reception at its premiere in Dublin on April 13, 1742 was lukewarm, distances itself from the Italian influence in his earlier work and anchors its references in German passions. Composed in about 3 weeks -Stefan Zweig narrated the incidents of his writing, identifying The Messiah as the curative way with which Händel resolved his ailments from a stroke suffered years before- with a rush that left his mark on the blots of the score autograph of 259 pages, Händel conceived The Messiahfor modest numbers, but at the end of the 18th century the fashion of interpreting it with gigantic formations of up to a choir of 2,000 singers and an orchestra of 500 musicians prevailed. That gave fame and solemnity to the work, but also buried it in a heavy musical gigantism from which it was rescued by the historicist movement that claimed the transparency and softness of its 53 numbers, some as popular as And the glory of the Lord..., Or thou that tellet Good Tidings to Zion or For unto Us a Child is Born , among many, plus the famous Hallelujahwhich, according to legend, King George II heard standing up in London's Covent Garden in 1743, forcing the entire theater, by order of protocol, to stand up as well. Today, that gesture is a metaphor of recognition of the genius of a composer who took chorality to a dazzling extreme.

English

Collegium 1704 The Messiah by Händel, sek 24 kov 2024, Nuo (2024/2024), Dirigentas Václav Luks, Teatro de la Maestranza, Seville, Spain

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