Organization

Cantante

Tenor

Carlo Allemano

Clistene

Contratenor

Joélle Harvey

Aristea

Lauren Snouffer

Argene

Contralto

Anna Bonitatibus

Licidas

Vivica Genaux

Megacle

Thomas Erlank

Aminta

Delphine Galou

Alcandro

Director(a) de escena

David Marton

Director(a) orquestal

Ottavio Dantone

Diseñador(a) de iluminación

Henning Streck

Diseñador(a) de vestuario/Figurinista

Tabea Braun

Escenógrafo(a)

Christian Friedländer

Diseñador(a) de video

Sonja Aufderklamm

Dramaturgia

Claus Spahn

Opernhaus Zürich

Orchestra

La Scintilla

italiano

L'olimpiade -  (La olimpiada)

Zúrich

Suiza

Opernhaus

L'olimpiade Pergolesi

Public

La olimpiada

alemán

inglés

Válido

L'OLIMPIADEArien von Giovanni Battista Pergolesimit einem Dokumentarfilm von David Marton und Sonja Aufderklammwww.opernhaus.ch/olimpiadeMusikalische Leitung...

THE PROSPECTUS Part 1: «La caída de los gigantes sitiando el Olimpo» by Francisco Bayeu y Subias All gods are united. At least on the brochure that shows the picture "La caída de los gigantes sitiando el Olimpo" by Francisco Bayeu y Subias and which can currently be seen in our new production "L'Olimpiade". A backdrop is a large, stage-filling painting that beautifully illustrates and frames the scenic event. Prospectuses have been around since antiquity, and archaeologists have identified painted theater backdrops as early as 500 BC. after. If you want to hang up such a brochure at home, you need a lot of space, after all our brochures are 17 meters wide and 10 meters high! The art of producing these brochures lies in the transfer of the template to the original-sized painting background. Because the templates from which these brochures are created are usually relatively small. In our case, the template is only available in A3 format. How does this then result in such a detailed painting in this oversized size? If you dare to undertake such a project yourself, you need a painter's room that has a larger area than the prospectus itself. You paint the picture while it is lying on the floor, an easel would also be impractical in this case. First, take a large, seamless piece of cotton fabric and nail it to the floor without creases. Then prime the cloth with white paint. Then you take cords and lay a 1 x 1 meter grid over the fabric. Lay this grid true to scale over your template. Now you can use charcoal pencils to transfer the shapes of the template image to the fabric. You can also erase, simply blow away the charcoal drawing and draw again. Now ink the lines with stain. These lines will always remain visible, even if you use multiple layers of paint. Now paint as detailed as possible in several coats of paint. Perhaps you need to invent details that are not apparent in the small template. In between, look at your painting from a distance, 5 to 10 meters is ideal and you paint until you like the result and match your template. If you are experienced and work in a team with your acquaintances, you will be finished after 4-5 weeks. Now all you have to do is roll up the brochure and hang it up at home! It is best to use trains like the ones we have in the opera house, they can go up 21 meters! - Jörg Zielinski (head of set design Zurich Opera House) www.opernhaus.ch/olimpiade

L'Olimpiade
This baroque opera project, which fell victim to the Corona lockdown just before the premiere last season, pursues a very extraordinary music-theatrical approach: It combines arias from Giovanni Battista Pergolesi's rarely played opera L'Olimpiade with a documentary film, which the Drama and music theater director David Marton, who lives in Berlin, and the Austrian filmmaker Sonja Aufderklamm shot about old people in Zurich. Marton is known for his research into new theatrical forms and in this production explores new areas of tension between sound, moving images and scenes, between opera and reality, song and human fate.
Aufderklamm and Marton visited old people, played them Pergolesi's music and talked to them about the themes inherent in the arias. The great emotionality of the music is combined in her work with faces, stories and touching human fates. The artistic result is a deeply heartfelt evening that arose in a time of the corona pandemic, in which a colorfully staged Baroque opera was more of a longing mirage than a natural stage reality.

The aria art of the Neapolitan genius composer Giovanni Battista Pergolesi, which is at the center of this musical-theatrical experiment, is one of the most beautiful and masterful that the 18th century ever produced. She can be heard in Zurich by such great and internationally renowned singers as Vivicagenaux or Anna Bonitatibus. The production is musically directed by the Italian conductor and harpsichordist Ottavio Dantone, who has performed more Pergolesi operas than anyone else.

English

Dieses Barock-Opern-Projekt, das in der vergangenen Spielzeit unmittelbar vor der Premiere dem Corona-Lockdown zum Opfer fiel, verfolgt einen ganz ausserordentlichen musiktheatralischen Ansatz: Es kombiniert Arien aus Giovanni Battista Pergolesis selten gespielter Oper L’Olimpiade mit einem Dokumentarfilm, den der in Berlin lebende Schauspiel- und Musiktheaterregisseur David Marton und die österreichische Filmemacherin Sonja Aufderklamm über alte Menschen in Zürich gedreht haben. Marton ist bekannt für seine Erforschung neuer theatraler Formen und lotet in dieser Produktion neue Spannungsfelder zwischen Klang, bewegten Bildern und Szene aus, zwischen Oper und Wirklichkeit, Gesang und menschlichen Schicksalen.
Aufderklamm und Marton besuchten alte Menschen, spielten ihnen Pergolesis Musik vor und sprachen mit ihnen über die den Arien innewohnenden Themen. Die grosse Emotionalität der Musik verbindet sich in ihrer Arbeit mit Gesichtern, Geschichten und berührenden menschlichen Schicksalen. Das künstlerische Resultat ist ein zutiefst zu Herzen gehender Abend, der in einer Zeit der Corona-Pandemie entstanden ist, in der eine farbig inszenierte Barock-Oper mehr sehnsüchtige Fata Morgana war als selbstverständliche Bühnen-Realität.

Die Arienkunst des neapolitanischen Komponistengenies Giovanni Battista Pergolesi, die im Zentrum dieses musiktheatralischen Experiments steht, gehört zu den schönsten und meisterhaftesten, die das 18. Jahrhundert überhaupt hervorgebracht hat. Sie ist in Zürich von so grossartigen und international renommierten Sängerinnen wie Vivica Genaux oder Anna Bonitatibus zu erleben. Die Produktion wird musikalisch geleitet vom italienischen Dirigenten und Cembalisten Ottavio Dantone, der so viele Pergolesi-Opern aufgeführt hat wie kein anderer.

Deutsch

Créditos de presentación (Elenco & Equipo )

Elenco

Equipo

Ensamble