Name: Achille in Sciro
Start: 2023-02-17T00:00:00.000Z
End: 2023-02-25T00:00:00.000Z
Location: Teatro Real

Organization

Lighting designer

Ulrik Gad

Conductor

Ivor Bolton

Stage director

Mariame Clément

Set designer

Julia Hansen

Choreographer

Mathieu Guilhaumon

Singer

Countertenor

Tim Mead

Ulisse

Soprano

Francesca Aspromonte

Deidamia

Sabina Puértolas

Teagene

Franco Fagioli

Achille

Pirra

Tenor

Krystian Adam

Arcade

Bass

Mirco Palazzi

Licomede

Gabriel Diaz

Iolanda Massimo

Costume designer

Harpsichord

Juan Sancho

Nearco

MusikTheater an der Wien

Teatro Real de Madrid

Others

Coro Intermezzo

Orchestra

Orquesta Barroca de Sevilla

Caio Duran

Achille in Sciro -  (Achilles in Scyros)

Madrid

Spain

Teatro Real

Sala Principal

Disguise and transvestism were an essential part of opera plots from the Venetian origins of this genre. In line with this tradition -   continued by ópera seria – the episode of Aquiles on the island of Esciros inspired more than 30 compositions for voice based on the libretto of Metastasio in 1737: Tetis, mother of Aquiles, disguises her son as a woman to hide him in the court of King Licomedes and prevent his participation in the Trojan War.  (What else is missing?). However, the plan begins to come apart when Aquiles, incapable of subduing his virility, falls in love with Princess Deidamia.

Francesco Corselli is a fundamental name in Spanish opera of the 18th century:  as Kapellmeister of the Royal Chapel of Madrid for nearly 30 years, he was the principal supplier of opera to the Spanish court. Some of these were under the artistic direction of the famous castrato Farinelli. First seen in 1744 at the Real Coliseo del Buen Retiro in Madrid, Achille in Sciro was composed to celebrate the marriage of the Infanta of Spain, Maria Teresa Rafaela to the Dauphin of France. Staging this opera was postponed by the interruption of the pandemic and it represents a momentous milestone in the recovery of our musical heritage.

Achille in Sciro Corselli

Public

Private

Achilles in Scyros

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

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Chorus Director

Chorus master

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Baritone

Contralto

Bass-baritone

Mezzo-soprano

Alto

Child vocalist

Continuo

Silent

Spoken

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Costumes and cross-dressing have been an essential part of operatic plots since the Venetian origins of this genre. In line with this tradition –continued by serious opera–, the episode of Achilles on the island of Esciros inspired more than thirty lyrical compositions from Metastasio's 1737 libretto: Thetis, mother of Achilles, disguises her son of a woman to hide him in the court of King Lycomedes and thus prevent his participation in the Trojan War (what could go wrong?). However, the plan begins to fail when Achilles, unable to break his virility, falls in love with the princess Deidamia.

Francesco Corselli is a fundamental name in 18th-century Spanish opera: as master of the Royal Chapel in Madrid for nearly 30 years he was the main supplier of operas to the Spanish court, some of them under the artistic direction of the famous castrato Farinelli. Premiered in 1744 at the Real Coliseo del Buen Retiro in Madrid, Achille in Sciro was composed to celebrate the marriage of the Infanta María Teresa Rafaela with the Dauphin of France. Its staging, postponed due to the outbreak of the pandemic, represents a great milestone in the recovery of our musical heritage.

English

Los disfraces y el travestismo formaron parte esencial de las tramas operísticas desde los orígenes venecianos de este género. En línea con esta tradición –continuada por la ópera seria–, el episodio de Aquiles en la isla de Es-ciros inspiró más de una treintena de composiciones líricas a partir del libreto de Metastasio de 1737: Tetis, madre de Aquiles, disfraza a su hijo de mujer para ocultarlo en la corte del rey Licomedes e impedir así su participación en la guerra de Troya (¿qué podría fallar?). Sin embargo, el plan comienza a hacer aguas cuando Aquiles, incapaz de doblegar su virilidad, se enamora de la princesa Deidamia.

Francesco Corselli es un nombre funda-mental de la ópera española del siglo XVIII: como maestro de la Capilla Real de Madrid durante cerca de 30 años fue el principal su-ministrador de óperas de la corte española, algunas de ellas bajo la dirección artística del célebre castrato Farinelli. Estrenada en 1744 en el Real Coliseo del Buen Retiro de Madrid, Achille in Sciro se compuso para celebrar el casamiento de la infanta María Teresa Rafaela con el delfín de Francia. Su escenificación, postergada por la irrupción de la pandemia-supone un gran hito en la recuperación de nuestro patrimonio musical.

español

Achilles in Scyros by Corselli, Od (2023/2023), Režírované Mariame Clément,, Dirigent Ivor Bolton, Teatro Real, Madrid, Spain

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