Orlando, Händel
From 23 January 2025 to 02 February 2025/ France / Paris
Théâtre du Châtelet, Paris
January 23, 25, 27, 29, 31, 2025, at 7:30 PM, and February 2, 2025, at 3:00 PM
January 23, 25, 27, 29, 31, 2025, at 7:30 PM, and February 2, 2025, at 3:00 PM
ORLANDO
Georg Friedrich Händel (1685–1759)
Georg Friedrich Händel (1685–1759)
Opera in three acts with a libretto by Carlo Sigismondo Capece, inspired by Orlando Furioso by Ariosto. Premiered on January 27, 1733, at the King’s Theatre in London.
A new production by the Théâtre du Châtelet – Co-produced with Théâtre de Caen, Grand Théâtre de Luxembourg, and Opéra National de Lorraine.
CREATIVE TEAM
Director: Jeanne Desoubeaux
Set Design: Cécile Trémolières
Costume Design: Alex Costantino
Lighting Design: Thomas Coux dit Castille
Choreography: Rodolphe Fouillot
Director: Jeanne Desoubeaux
Set Design: Cécile Trémolières
Costume Design: Alex Costantino
Lighting Design: Thomas Coux dit Castille
Choreography: Rodolphe Fouillot
CAST
Katarina Bradić: Orlando
Siobhan Stagg: Angelica
Elizabeth DeShong: Medoro
Giulia Semenzato: Dorinda
Riccardo Novaro: Zoroastro
Katarina Bradić: Orlando
Siobhan Stagg: Angelica
Elizabeth DeShong: Medoro
Giulia Semenzato: Dorinda
Riccardo Novaro: Zoroastro
Les Talens Lyriques
Christophe Rousset, conductor & harpsichord
“This remarkable opera recounts the adventures of the maddened Roland of Roncevaux, as drawn from Ariosto’s Orlando Furioso (Italian poet, 1474–1533). The madness of Roland, upon discovering the infidelity of his beloved Angelica, who has fled with his rival Medoro, will be magnificently sung by contralto Katarina Bradić. Despair and madness dominate this scene, where Händel innovates by transitioning from recitative to arioso in a novel style—a striking and noteworthy musical form in this opera.
Christophe Rousset, conductor & harpsichord
“This remarkable opera recounts the adventures of the maddened Roland of Roncevaux, as drawn from Ariosto’s Orlando Furioso (Italian poet, 1474–1533). The madness of Roland, upon discovering the infidelity of his beloved Angelica, who has fled with his rival Medoro, will be magnificently sung by contralto Katarina Bradić. Despair and madness dominate this scene, where Händel innovates by transitioning from recitative to arioso in a novel style—a striking and noteworthy musical form in this opera.
Having worked extensively with the talented Siobhan Stagg, I am delighted to collaborate with Riccardo Novaro and Giulia Semenzato, two Italian singers I have admired for many years.
Additionally, I often prefer the female voice to that of a falsettist, and Orlando serves as a prime example. When this opera premiered, the role of Medoro was originally assigned to a castrato who, having declared himself unfit to perform for the first show, was replaced by a woman. Without the presence of a castrato, Händel himself would likely have chosen a female voice over that of a falsettist for this role.
Orlando is an opera I have not yet had the chance to explore. Despite our extensive repertoire of Händel’s operas, this one awaited its moment. We often circle around works until the opportunity finds us.
I am also excited about this first collaboration with Jeanne Desoubeaux. She has her own unique genius and the distinct advantage of being a harpsichordist. Her deep sensitivity to this music and baroque repertoire is evident. Her staging, which begins with a group of children visiting a museum, will undoubtedly transport us magically from the past to the present.”
– Christophe Rousset
– Christophe Rousset
