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In this chivalrous saga, the crusader Rinaldo fights against the plotting of the magician Armida in order to rescue his beloved Almirena.
Drawing his inspiration from an excerpt from the poem Jerusalem Delivered from La Tasse, the young Handel composed with Rinaldo his very first opera for the London public. It was an immediate success in a city where Purcell’s death almost twenty years earlier (1695) had left a musical desert. Handel thus became the great musician that London had been waiting for, destined for a great career, and introduced Italian opera to England.
Handel wrote Rinaldo in record time-only fifteen days. As was often the case at the time, he reused several melodies from his earlier works. Rinaldo becomes a pasticcio of Handel’s most beautiful pages such as Cara sposa, Venti, turbini, prestate or even Lascia ch’io pianga.
Opera seria in three acts
Libretto by Giacomo Rossi
First performance on February 24, 1711
at the Queen’s Theatre in London
Alkor – Editions Kassel
Conductor, organist and harpsichordist, Andrea Marcon is one of the most renowned musicians in the interpretation of early music. He studied in Basel with Jean-Claude Zehnder and Hans Martin Linde. He is a laureate of the Innsbruck Organ Competition in 1986 and the Bologna Harpsichord Competition in 1991. He also studied with Luigi Ferdinando Tagliavini, Hans van Nieuwkoop, Jesper Christensen, Harald Vogel and Ton Koopman. He is the founder of the Venice Baroque Orchestra, with which he performs in the most important concert halls in Europe, North America and Japan. As a guest conductor he conducts, among others, the Berlin Philharmonic Orchestra, the Bavarian Radio Orchestra and the Bamberg Symphony Orchestra. In 2009 he became music director of the baroque orchestra La Cetra in Basel. Andrea Marcon also shares his knowledge with students at numerous conservatories and universities around the world, in addition to his work as professor of harpsichord and organ at the Schola Cantorum in Basel.
Robert Carsen is a Director who’s invited all over the world and also works as a scenographer and lighting designer. He has directed numerous operas, such as Dialogues des carmélites, Les fêtes vénitiennes, Platée, A Midsummer Night’s Dream, Rigoletto, Die Zauberflöte, Don Giovanni, Falstaff, Der Rosenkavalier, The Turn of the Screw, La dame de pique, L’amour des trois oranges, Ariadne auf Naxos, L’incoronazione di Poppea, Rinaldo, Iphigénie en Tauride, La Traviata and Der Ring des Nibelungen. He has worked on the stages of the greatest opera houses such as Covent Garden, La Scala, the Canadian Opera, the Opéra Comique, the Opéra National de Paris, the Metropolitan Opera, the Theater an der Wien, the Opéra National du Rhin and La Fenice, as well as for various theatres in Madrid, Cologne, Aix-en-Provence, Baden-Baden, Zurich, Munich, Berlin, Shanghai and Barcelona. He has directed the plays La tempête, Mère courage and Rosencrantz and Guildenstern are Dead, as well as musicals such as The beautiful game, Sunset boulevard, Singin’ in the rain, Candide and My Fair Lady. He also works as an art director and set designer for exhibitions at the Musée d’Orsay, the Grand Palais, the Royal Academy of Arts, the Art Institute of Chicago and the Musée Galliera. He designed the scenography and staged Karl for ever, the tribute to Karl Lagerfeld at the Grand Palais in June 2019.
At the Opéra de Lausanne: Ariadne auf Naxos (1987), La finta giardiniera (1989) and L’Orfeo (2016).
Crowned with numerous distinctions, Philippe Jaroussky is one of the most outstanding singers of the last twenty years. His vocal technique and superlative musical qualities have been acclaimed around the world, whether in baroque masterpieces, French melody or the contemporary repertoire. With the greatest conductors and in the most prestigious halls or festivals, he has contributed to the revelation of many unpublished scores by Jean-Christian Bach, Porpora, Caldara, Steffani or Telemann. In 2002 he founded his ensemble Artaserse, with which he regularly tours internationally. A brilliant contributor to the Vivaldi edition for Naïve, he is above all an exclusive artist for Warner Classics, for which he has built up an impressive discography. In 2017, he creates the Jaroussky Academy, which aims to democratize access to classical music by welcoming young people in culturally remote situations. Philippe Jaroussky is an Officer of Arts and Letters.
Born in Germany, Anett Fritsch trained in Leipzig and made her debut at the age of twenty as Despina (Così fan tutte) and Adina (L’elisir d’amore) in Rheinsberg. During her studies she sang minor roles at the Leipzig Opera House. In 2011 she started her international career in the role of Almirena (Rinaldo) in Glyndebourne. Since then, she has performed Merione (Telemaco) at the Theater an der Wien under the direction of René Jacobs, Fiordiligi (Così fan tutte) in Michael Haneke’s production in Madrid, Brussels and Vienna as well as Donna Elvira (Don Giovanni) and the Contessa (Le nozze di Figaro) at the Salzburg Festival. She also performs on the most important opera stages such as in Munich, Covent Garden, La Scala and the Vienna Konzerthaus. In 2016, she will release her first CD with opera arias by Mozart.
Apprécié par les plus grands chefs de la scène baroque, Carlo Vistoli séduit par la beauté chaleureuse de son timbre tout en impressionnant par des moyens techniques qui lui permettent de dresser des portraits psychologiques complets des personnages qu’il incarne.
En 2015, son entrée au Jardin des Voix des Arts Florissants provoque une accélération significative de sa carrière. Rapidement, William Christie l’invite à chanter les grands chefs-d’œuvre baroque tels que Le Messie, la Selva Morale e Spirituale, Sorceress de Dido and Æneas… Par ailleurs, Carlo Vistoli prend part à des productions importantes au Festival de Ravenne ou au Festival des Deux Mondes de Spoleto, sans oublier La Fenice de Venise ou le Teatro Regio de Turin.
En 2017, Carlo Vistoli est sélectionné par Sir John Eliot Gardiner pour le rôle d’Umana Fragilità dans Il Ritorno d’Ulisse in Patria et, surtout, celui d’Ottone de L’Incoronazione di Poppeapour la gigantesque tournée Monteverdi 450. De ce fait, il se produit avec un très vif succès dans les hauts lieux musicaux tant en Europe (Berlin, Edimbourg, Lucerne, Paris, Salzbourg, Venise…) qu’aux États-Unis (Chicago, New York).
Ces dernières années, Carlo Vistoli a collaboré avec nombre d’ensembles et chef de premiers plans : William Christie et les Arts Florissants, Leonardo Garcia Alarcon et Capella Mediterranea, Diego Fasolis et I Barocchisti, Maxim Emelyanychev et Il Pomo d’Oro, Andrea Marcon et la Cetra, Thibault Noally et Les Accents, Andres Gabetta et Capella Gabetta, Franceco Corti et les Musiciens du Louvre…
Born in South Korea, countertenor Kangmin Justin Kim was raised in Evanston, Illinois. He studied voice, opera and musical theater at Northwestern University in Evanston and the Royal Academy of Music in London. His operatic debut in 2013 was quickly followed by engagements on the world’s greatest stages: Opéra-Comique, Châtelet, Salzburg Festival, New York’s Lincoln Center, Paris and Berlin Philharmonics, Amsterdam’s Concertgebouw, Glyndebourne, Naples’ Teatro San Carlo… Recent engagements include Cherubino at Covent Garden’s Royal Opera House, Nerone in L’incoronazione di Poppea at Berlin’s Staatsoper, as well as Ottone in Griselda and Gilade in Farnace at La Fenice in Venice. In the 2022/23 season, he will appear as Justin in Hänsel und Gretel at the Dallas Opera, as Nerone at the Rhine Opera, as Amanzio in Vivaldi’s Il Giustino in Basel and at the Congertgebouw in Amsterdam, as Cleopatra in Hasse’s Marc’Antonio e Cleopatra in Chicago, and as Hyacinthus in Mozart’s Apollo et Hyacinthus at La Fenice.
At the Opéra de Lausanne: Rinaldo (2021).
The baritone José Antonio López is a versatile singer, using his voice in various eras and styles. He sings in major concert halls such as the Berlin Philharmonic, Vienna Musikverein, Salzburg Mozarteum and the Concertgebouw, as well as with ensembles such as the Cincinnati Symphony Orchestra, BBC Symphony Orchestra, the baroque orchestra La Cetra and Budapest Festival Orchestra. He works with renowned conductors such as Christophe Rousset, Andrea Marcon, David Afkham and Ivor Bolton. On stage, José Antonio López sings the main role in the opera Haendel, as well as various roles in contemporary operas. He has performed in operas by Mozart, Verdi, Puccini, Wagner and Strauss. Current roles include, Garibaldo (Rodelinda) in Madrid, as well as engagements at the Liceu and the Händel Festspiele in Halle.
Born in Rome, Arianna Vendittelli is a graduate of the Conservatorio Antonio Buzzolla in Adria. She made her debut at the Salzburg Festival in the role of Carmi (Mozart’s La Betulia liberata), conducted by Riccardo Muti. Particularly attached to the Mozart repertoire, she was Zerlina (Don Giovanni) at the Spoleto Festival and Donna Elvira in Beaune and Bremen under Jérémie Rhorer. In Così fan tutte, she sang Fiordiligi in several Italian theaters, and Despina at Turin’s Teatro Regio. She is acclaimed for her interpretations of Rossini in the title role of Ermione and as Amaltea (Mosè in Egitto) at Naples’ San Carlo. Renowned for her work in the Baroque repertoire, Arianna Vendittelli’s most notable roles include Salome in Stradella’s San Giovanni Battista with Vacláv Luks. She sang Hasse’s Semele at Theater an der Wien, Minerva (Il ritorno d’Ulisse in patria) in an Ottavio Dantone/Robert Carsen production in Florence. She brought to life Amantio (Vivaldi’s Il Giustino) conducted by Ottavio Dantone and L’Ange (Pergolesi’s La conversione di San Guglielmo d’Aquitania) with Les Talens Lyriques and Christophe Rousset. Her solo album of Vivaldi’s soprano cantatas, published in the Naïve Vivaldi edition, was named by the New York Times as one of the “five classical music albums to listen to right now”. Recent and future engagements include the role of Giovanna (Anna Bolena) in a new production by Diego Fasolis/Carmelo Rifici in Lugano, Reggio Emilia, Modena, Piacenza, Donna Elvira (Don Giovanni) at the Opéra Royal de Versailles and Angelica (Vivaldi’s Orlando furioso) in Ferrara and Modena.
At Opéra de Lausanne: Il Giustino (2019) and Le nozze di Figaro (2021)
The French tenor Jean Miannay studied singing in Lausanne with Brigitte Balleys and in Berlin in the class of Scot Weir. He distinguished himself in 2018 at the 4th Raymond Duffaut Competition, where he won the grand prize. Following this, he won various awards at the Clermont-Ferrand Competition, the Kattenburg Competition, as well as the 2nd Vienna International Music Competition. His young lyric voice leads him to interpret roles such as Tamino (Die Zauberflöte), Ferrando (Così fan tutte), Beppe (Pagliacci), Nemorino (L’elisir d’amore), Alfredo (La traviata), Vincent (Mireille), or Des Grieux (Manon). In 2018, he made his first steps at the Lausanne Opera, where he performs regularly thereafter. He sings in France at the operas of Massy, Avignon and Clermont-Ferrand, as well as at the Chorégies d’Orange for the fourth consecutive year. In 2022, he made his German debut at the Theater Magdeburg in a production of Orpheus in der Unterwelt. Curious by nature, he also flourishes in contemporary creation as well as in chamber music. He has performed Benjamin Britten’s Illuminations and Serenade for horn and tenor, Janáček’s Diary of the Missing and Schumann’s Dichterliebe. He is expected this summer as Remendado (Carmen) at the Chorégies d’Orange and joins the Opéra Studio du Rhin for the 2023/24 season.
At the Opéra de Lausanne: Pauline Viardot’s Cendrillon (2018), Les Contes d’Hoffmann (2019), Rinaldo (2020), L’Auberge du Cheval-Blanc (2021), Semiramide, Eugene Onegin and L’elisir d’amore (2022).