Organization

Conductor

Iker Sánchez-Silva

Chorus master

Gabriella Barresi

Singer

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

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

Choreographer

Chorus Director

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Mezzo-soprano

Baritone

Contralto

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

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, Aπό (2022/2022), αγωγός Iker Sánchez-Silva

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