Name: Astianatte
Start: 2022-10-21T00:00:00.000Z
End: 2022-10-23T00:00:00.000Z
Location: ODC Theater

Organization

Conductor

Matthew Dirst

Instrumentalist

Stage director

Céline Ricci

Costume designer

Marina Polakoff

Lighting designer

Del Meddoff

Translator

Joe McClinton

Jasmine Johnson

Andromaca

Debroah Martinez Rosengaus

Pirro

Nikola Printz

Oreste

Aura Veruni

Ermione

Ars Minerva

italià

Astianatte

San Francisco

United States

ODC Theater

Public

Approved

Accordionist

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

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Teacher

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Singer

Baritone

Bass

Tenor

Mezzo-soprano

Contralto

Soprano

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

A dark tale of post-Iliad trauma, vengeance, sexual havoc, and threatened infanticide, composed by one of the early 18th century’s most brilliant and under-recognized operatic masters. Similar material inspired such milestones as Euripides’ Andromache, Racine’s Andromaque, and Rossini’s Ermione.


This is by far the most disturbing work Ars Minerva has revived, set in a topsy-turvy world of grim beauty where mother love counts for little, erotic attraction excuses any cruelty, and conventional gender roles are reversed: Heroic males are at the mercy of their emotions, while women are the cold voice of duty and honor. Even death itself may not be what it seems.

Troy has fallen. Andromache, widow of the Trojan hero Hector, is the prisoner of Achilles’ son Pyrrhus, king of Epirus. Pyrrhus has fallen desperately in love with his captive and now shuns his fiancée, Hermione. Andromache is revolted at the idea of marrying the son of her husband’s killer; meanwhile, Hermione is by no means willing to be spurned without a fight. Orestes arrives, bearing an ultimatum for Pyrrhus: Kill Andromache’s and Hector’s young son Astyanax (Astianatte) or face war with Greece. Not incidentally, Orestes would also be delighted to rekindle his relationship with the jilted Hermione.

Can a happy resolution ever be found for this tragic tangle of jealousies and emotional blackmail, in which a child’s life seems to have value only as a tool for coercion?

English

Astianatte by Vinci, Dg. 23 Oct. 2022, De (2022/2022), Dirigit per Céline Ricci,, Director musical Matthew Dirst, ODC Theater, San Francisco, United States

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