Name: Giulio Cesare in Egitto
Start: 2022-05-28T00:00:00.000Z
End: 2022-11-13T00:00:00.000Z
Location: Stadttheater Aschaffenburg

Organization

Stage director

Martina Veh

Conductor

Hans Huyssen

Soprano

Stephanie Krug

Cleopatra

Countertenor

Franziska Weber

Sesto

Contralto

Martina Koppelstetter

Cornelia

Joël Vuik

Tolomeo

Bass

Joel Frederiksen

Achilla

Christopher Robson

Nireno

Nikolaus Maier

Curio

Milena Bischoff

Lena Spohn

Julius Caesar

Set designer

Stefan Wintersberger

Costume designer

Lighting designer

Wieland Müller-Hasslinger

Director/Evening Director

Susanne Barta

Così facciamo

Orchestra

così facciamo

Others

Ensemble for Early music Neu così facciamo

Neu così facciamo

Jazz Ensemble

italština

Giulio Cesare in Egitto -  (Julius Caesar in Egypt)

Wolfenbüttel

Germany

Lessingtheater

Munich

Cuvilliés-Theater

Aschaffenburg

Stadttheater Aschaffenburg

Giulio Cesare in Egitto Händel

Public

Julius Caesar in Egypt

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

Oboist

hornist

Bassoonist

Trumpeter

Contrabassist

Harper

Saxophonist

Trombonist

Harpsichordist

Bassist

Accordionist

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

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

Mezzo-soprano

Singer

Tenor

Baritone

Bass-baritone

Spoken

Child vocalist

Silent

Alto

Continuo

If Giulio Cesare is Handel's most popular and therefore most-performed opera today, it is probably due to the subject of the exotic love affair between Caesar and Cleopatra, which always arouses lively public interest. The fact that the opera is also a compositional masterpiece and contains some of Handel's catchiest and most challenging arias makes its realization all the more appealing. The fact that the context and the location of the plot (Egypt occupied by Rome around 50 BC) also offers an opportunity to think about orientalism and colonization makes it an irresistibly topical lesson in our times (unfortunately again).
Although historical figures and exotic locations are characteristic of 18th-century libretti, they ultimately only serve as a non-binding framework for describing variations on an always the same, moralizing, didactic, European heroic epic: a long-suffering one, but endowed with virtue, patience, and courage Hero finally overcomes all cruel adversaries and strokes of fate. Operas of this type are only performed today because some composers managed to subversively turn this schema upside down and transform stereotypical stage figures into comprehensible feeling and experiencing individuals by means of nuanced musical characterizations. Handel is at the fore here. His gift for certain moods, dramatic situations,
In the meantime, however, a further political-performance-practical intervention has become necessary. Just as Handel transforms distant and unfamiliar historical figures into close, familiar ones, it is now time to integrate distant and supposedly exotic locations into one's own world of experience in order not to fall into the pitfalls - even if only out of misunderstood fidelity to the work of an orientalism that is no longer tenable. Our production therefore places the action in the roaring twenties of the last century, in an ambience characterized by Egyptomania, the Jazz Age, Egypt's finally achieved independence and an openness to the collision of diverse cultural currents. It is by no means a matter of falsifying or distorting the score,

English

Giulio Cesare in Egitto (2022)
Dramma per musica in tre atti

Music: George Frideric Handel (HWV 17), libretto: Bussani / Haym

Staged new production of the Ensemble così facciamo on period instruments with spirituals, blues & jazz by Georg Gershwin


Giulio Cesare in Egitto (London 1724) — »Cafe Nireno« at the end of the world!

Jazz, drugs, sex and war business, filled with life, emotions and intrigues at every moment!
In Cairo in the 20s, the world powers collide in a confined space. Images of the enemy are solidified, foreignness and megalomania, the conquest of the unknown and the deep human desire for domination, love and recognition pave their way. The rise and fall of a world empire are always close together – everything has its price! (Martina Veh)

Deutsch

Julius Caesar in Egypt by Händel, so 04 čvn 2022, Od (2022/2022), Režie Martina Veh,, Dirigent Hans Huyssen, Stadttheater Aschaffenburg, Aschaffenburg, Germany

Výkonnostní kredity (Obsazení a tým )

Obsazení

Osádka

Soubor

Program, Informace a Synopsis

Fotografie

Další čtení

Termíny a místa představení

Divadla/scény