Organization

Conductor

Iker Sánchez-Silva

Chorus master

Gabriella Barresi

Countertenor

Carlos Mena

Soprano

Jone Martínez

Tenor

Josu Cabrero

Bass

Víctor Cruz

Teatro Arriaga Bilbao

Orchestra

Bilbao Sinfonietta

Messiah -  (Messiah HWV 56)

Bilbao

Spain

Messiah Händel

Public

Messiah HWV 56

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

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

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

Bass-baritone

Contralto

Mezzo-soprano

Baritone

Spoken

Child vocalist

Silent

Alto

Continuo

During his stay in Dublin in 1741 Händel wanted to offer a benefit concert in favor of charity entities, and decided to present his sixth oratorio written a year earlier: The Messiah. The concert was held in The Great Music Hall and raised so much expectation in later performances that even in the newspapers men were asked to attend without swords and women without big dresses, in order to make better use of the auditorium space.

As was customary at the time, composers adapted the score depending on the situation they encountered. Thus, today we can find countless versions of this popular oratory. When he had an outstanding singer, Händel remade his line to take advantage of the talent of his voice and, if he fell ill, he rewrote his music for another: for Händel the score was a great living scheme that he modified according to the available musicians. In the years after his death, the work was adapted for mass performances, with giant orchestras and choirs. Even Mozart expanded his orchestration in an attempt to update the work to suit the tastes of the day.

This new project brings together different groups and soloists from our territory with the intention of creating a space where the dialogue on the divergent visions of this fascinating score leads him to share with the public a rich, sincere and faithful reading of one of the most important and interpreted in the history of music: EL MESÍAS, by HÄNDEL.

English

Durante su estancia en Dublín en 1741 Händel quiso ofrecer un concierto benéfico a favor de entidades de caridad, y decidió presentar su sexto oratorio escrito un año antes: El Mesías. El concierto se celebró en The Great Music Hall y levantó tanta expectación en posteriores representaciones que incluso en los periódicos se pedía a los hombres que asistiesen sin espada y a las mujeres sin grandes vestidos, para poder aprovechar mejor el espacio del auditorio.

Como era habitual en la época, los compositores iban adaptando la partitura en función de la situación con la que se iba encontrando. Así, hoy podemos encontrar infinidad de versiones de este popular oratorio. Cuando disponía de un cantante sobresaliente, Händel rehacía su línea para aprovechar el talento de su voz y, si éste enfermaba, reescribía su música para otro: para Händel la partitura era un gran esquema vivo que modificaba en función de los músicos disponibles. En los años posteriores a su muerte se adaptó la obra para interpretaciones masivas, con orquestas y coros gigantes. Incluso Mozart amplió su orquestación en un intento de actualizar la obra para adaptarla a los gustos del momento.

Este nuevo proyecto reúne a diferentes agrupaciones y solistas de nuestro territorio con la intención de crear un espacio donde el diálogo sobre las divergentes visiones de esta fascinante partitura le lleve a compartir con el público una lectura rica, sincera y fiel de uno de los oratorios más importantes e interpretados de la historia de la música: EL MESÍAS, de HÄNDEL.

español

Messiah HWV 56 by Händel, Minn (2022/2022), Surmast Direttur Iker Sánchez-Silva

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Ensemble

Programm, Dwar & Sinossi

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