Teatro Real 6 November 2023 - Orlando | GoComGo.com

Orlando

Teatro Real, Main Auditorium, Madrid, Spain
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7:30 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Madrid, Spain
Starts at: 19:30
Acts: 3

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

Inspired by the protagonist of the film Taxi Driver starring Robert De Niro, the stage director Claus Guth brings this baroque opera so representative of Handel to a contemporary context: the consequences of the return to reality of a returned soldier after the war from Viet Nam.

A contemporary reflection of Orlando's warrior and heroic profile with the master score of the German composer and the voices of Anna Prohaska, Christophe Damaux and Anthony Roth Costanzo.  

New production of the Teatro Real, from Theater an der Wien

The epic poem Orlando furioso by Ludovico Ariosto constitutes the literary substratum that nourishes no less than three titles —the other two are Ariodante and Alcina— , by Georg Friedrich Händel. The work was written for Senesino, a famous castrato whose supernatural abilities can be inferred from the varied range of registers that the score demands of its protagonist, especially in the particular and extremely demanding "scene of madness" that closes its second act.

With a plot that revolves almost exclusively around the jealousy —and alienation— of its protagonist due to the affection that his beloved Angelica professes for Prince Medoro, the play today represents a major challenge for stage direction. Claus Guth's celebrated proposal—consisting of turning Orlando into a war veteran with post-traumatic stress incapable of facing reality—brilliantly bridges this gap, shedding light while providing countless surprises throughout a dramatic journey. that ends up becoming an invigorating therapy.

History
Premiere of this production: 27 January 1733, King s Theatre in London

Orlando is an opera seria in three acts by George Frideric Handel written for the King's Theatre in London in 1733. The Italian-language libretto was adapted from Carlo Sigismondo Capece's L'Orlando after Ludovico Ariosto's Orlando Furioso, which was also the source of Handel's operas Alcina and Ariodante. More an artistic than a popular success at its first performances, Orlando is today recognised as a masterpiece.

Synopsis

Orlando (Roland), a great soldier in Charlemagne's army, falls desperately in love with the pagan princess Angelica, who is in turn in love with another man, Medoro. Orlando cannot accept this and he is driven to madness, prevented from causing absolute carnage only by the magician Zoroastro (who eventually restores his sanity).

Act 1
On the summit of a mountain, at night - The wizard Zoroastro scans the heavens and sees signs in the stars that the warrior Orlando will once more turn to deeds of valour and recover from his passion for the princess of Cathay, Angelica. Orlando himself appears, torn between love and duty. With a wave of his wand, the magician conjures up disturbing visions of the great heroes of antiquity asleep at Cupid's feet. Zoroastro urges Orlando to forget Venus, the goddess of love, and once more follow Mars, god of war.(Aria:Lascia Amor). Orlando is at first shamed by Zoroastro's words but then decides love and duty do not necessarily conflict, reflecting that Hercules was not robbed of his status as a hero by his affair with Queen Omphale,or Achilles by disguising himself for a time as a woman (Aria:Non fu già men forte).

In a grove with shepherds' huts - The shepherdess Dorinda reflects on the beauties of nature, which however do not fill her with tranquility as they used to, which she feels may be a sign that she is falling in love. Orlando rushes across the scene with a princess, Isabella, that he has just rescued from danger, and Dorinda thinks he may be in love too. (Aria:Ho un certo rossore). Dorinda has been sheltering princess Angelica in her hut, as Angelica had found the wounded Moorish warrior Medoro near death and fallen desperately in love with him and brought him to recuperate in the shepherdess's hut with her. Dorinda is upset that Medoro and Angelica are in love, as she has fallen in love with Medoro herself, but Medoro tells Dorinda that Angelica is a relative of his and assures Dorinda that he will never forget her kindness to him (Aria:Se il cor mai ti dira). Dorinda knows Medoro is not telling the truth, but finds him utterly charming anyway (Aria:O care parolette).

Zoroastro tells Angelica he knows that she is in love with Medoro and warns her that Orlando's jealousy when he discovers this will lead to unpredictable and possibly dangerous results. When Angelica meets Orlando, she pretends to be jealous of his rescue of Princess Isabella, telling him he cannot expect her to love a man who may not be faithful to her (Aria: Se fedel vuoi ch’io ti creda). Orlando protests that he could never love anyone but her, and offers to do anything to prove it, including fighting fierce monsters (Aria:Fammi combattere).

As Orlando leaves, Medoro enters and asks Angelica who she was with. She explains that Orlando is a mighty warrior and besotted with her and advises that they should retreat to her kingdom in the east to escape his wrath. Dorinda is upset to see them embrace, but the lovers tell her not to be downhearted; one day she too will find love. Angelica presents Dorinda with a jewelled bracelet in gratitude for her hospitality (Trio:Consolati o bella).

Act 2
In a forest - Dorinda, inconsolable over the loss of Medoro, listens to the melancholy song of the nightingale and finds it chimes with her mood (Arioso:Quando spieghi tuoi tormenti). Orlando demands to know why Dorinda has been telling people he is in love with Isabella. Dorinda denies this and says she was speaking not of him but of Medoro and Angelica's love. She shows him the bracelet she claims Medoro gave her and says she sees his face in every brook and flower (Aria:Se mi rivolgo al prato). Orlando recognises the bracelet as one he had given Angelica and is furious at her betrayal. He vows to kill her, then himself, and pursue her in Hell itself (Aria:Cielo! se tu il consenti).

On one side, a grove of laurel trees, on the other, the entrance to a cave - Zoroastro advises Medoro and Angelica to flee Orlando's wrath and promises to protect them on their journey, advising them that they should always be guided by reason (Aria:Tra caligini profonde). Angelica and Medoro are saddened at having to leave the woods where they fell in love and Medoro carves their names into the trees as a memento (Aria:Verdi allori). Angelica is grateful to Orlando for having saved her life once and feels guilty for having lied to him, but tells herself that he will come to understand her love for Medoro, being in love himself (Aria:Non potrà dirmi ingrata). She takes a sad farewell of the beautiful grove where she first fell in love (Aria:Verdi piante).

Orlando rushes in and attempts to murder Angelica, who calls in vain for Medoro to rescue her. Zoroastro conjures up some spirits to whisk Angelica away in a cloud. Orlando begins to lose his reason: he imagines himself to be dead and sees himself entering Hades. He experiences a vision of his hated rival in the embrace of Proserpina, queen of the underworld, but then notices that Proserpina is crying and feels pity for her.(Accompagnato:Ah! Stigie larve). Becoming infuriated again, Orlando rushes into the cave, but it splits open, revealing Zoroastro in a flying chariot. He puts Orlando into it and carries him away.

Act 3
In a grove with palm trees - Medoro became separated from Angelica in the confusion and has returned to Dorinda's hut to seek refuge once more. He tells her he would love her if he could, but his heart is not his to give (Aria:Vorrei poterti amar). Dorinda comments on the whirlwind of passions caused by love (Aria:Amore è qual vento). Orlando appears and, addressing Dorinda as Venus, declares his love for her. Dorinda can see Orlando is still out of his senses, and this is even more apparent when he confuses her with a male enemy he had fought with previously.

Zoroastro appears and orders his attendant spirits to transform the grove to a dark cave, where he will try to restore Orlando to sanity. He knows that tempests eventually recede, and calm will return (Aria:Sorge infausta una procella).

Angelica finds Dorinda weeping and she explains that Orlando in his madness has burnt her cottage to the ground, killing Medoro in the process. Angelica is devastated and when Orlando appears she begs him to kill her too (Duet:: Finché prendi ancora il sangue).

Orlando hurls Angelica into the cave and, imagining he has rid the world of all its monsters, lies down to rest. Zoroastro declares the time has come for Orlando's mind to be healed; a magical bird descends with a golden phial, the contents of which the sorcerer sprinkles on Orlando's sleeping face. As Orlando begins to feel the effects of the magic potion, he sings the aria, Gia l'ebro mia ciglio. Orlando awakes, restored to reason, but is horrified to learn that he has killed both Medoro and Angelica and begs for death himself. Zoroastro has saved Angelica and Medoro however; Orlando is overjoyed to see them and wishes them a happy life together. Dorinda will forget her sorrow and invites everyone to her cottage to celebrate (Chorus: Con un diverso ardor, gia che ciascun e pago).

Venue Info

Teatro Real - Madrid
Location   Isabel II Square, s / n.

Teatro Real is a major opera house located in Madrid. Today the Teatro Real opera is one of the great theaters of Europe hosting large productions involving leading international figures in opera singing, musical direction, stage direction, and dance. Founded in 1818 and inaugurated on 19 November 1850, it closed in 1925 and reopened in 1966. Beginning in 1988 it underwent major refurbishing and renovation works and finally reopened in 1997 with a capacity of 1,746 seats. The theater offers visitors guided tours in several languages, including the auditorium, stage, workshops, and rehearsal rooms.

Founded by King Ferdinand VII in 1818, and after thirty-two years of planning and construction, a Royal Order on 7 May 1850 decreed the immediate completion of the "Teatro de Oriente" and the building works were finished within five months. The Opera House, located just in front of the Palacio Real, the official residence of the Queen who ordered the construction of the theatre, Isabel II, was finally inaugurated on 19 November 1850, with Donizetti's La Favorite.

The Teatro soon became one of the most prestigious opera houses in Europe. For over five decades it hosted the most renowned singers and composers of the time. In the early period, it saw famous opera singers such as Alboni, Frezzolini, Marietta Gazzaniga, Rosina Penco, Giulia Grisi, Giorgio Ronconi, Italo Gardoni, Mario de Candia and Antonio Selva among many others. In 1863, Giuseppe Verdi visited the theatre for the Spanish premiere of his La Forza del Destino. At its peak, in the last quarter of the 19th century, the Teatro hosted world renowned artists such as Adela Borghi, Marie Sasse, Adelina Patti, Christina Nilsson, Luisa Tetrazzini, Mattia Battistini, Julián Gayarre, Angelo Masini, Francesco Tamagno and Enrico Tamberlick. In 1925, the Ballets Russes of Diaghilev performed in the theatre with the presence of Nijinsky and Stravinsky.

From 1867 to 1925 the Teatro Real also housed the Madrid Royal Conservatory. In December of 1925 a Royal Order ordered its activities to be discontinued owing to the damage that the construction of the Metro de Madrid had caused to the building. The government set out to restore it and ordered numerous projects to be drawn out for its renovation, such as that from architect Urdanpilleta Flórez, who proposed a monumental remodeling of the building. However, financial difficulties prevented the completion of these projects and led to a simple restoration, sponsored by the Juan March Institute, and carried out first by the architect Manuel Gonzalez Valcárcel, and later by architects Miguel Verdú Belmonte and Francisco Rodriguez Partearroyo.

The theatre reopened in 1966 as a concert hall as well as the main concert venue for the Spanish National Orchestra and the RTVE Symphony Orchestra. The reopening was celebrated with a concert of the Spanish National Orchestra conducted by Rafael Frühbeck de Burgos, and the Orfeón Donostiarra. In 1969, the 14th Eurovision Song Contest was held at the theatre, featuring an onstage metal sculpture created by surrealist Spanish artist Salvador Dalí.

Important Info
Type: Opera
City: Madrid, Spain
Starts at: 19:30
Acts: 3
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