George Frideric Handel: Saul

Description

In 2009, Claus Guth staged a highly impressive 'Messiah' at the Theater an der Wien; with 'Saul', he created again breathtaking musical theater at its finest. Florian Boesch in the title role dominates the production as the ruler slipping into madness. Boesch is an elemental force that attracts attention on stage like a black hole. As David, British countertenor Jake Arditti gives a perfect presentation of the change from the innocent boy to the man who, after many dramatic events, becomes Saul’s successor. 'The pure Handel stroke of luck!' (Neue Musikzeitung). Anna Prohaska (Merab), Giulia Semenzato (Michal) and Rupert Charlesworth (Jonathan) perform convincingly the roles of Saul’s children who succumb to David’s physical and spiritual charms. The Freiburger Barockorchester under Christopher Moulds holds a finely textured balance between powerful ensemble and delicate solo passages of Handel’s score. The Arnold Schoenberg Choir’s nuanced singing - alternately exulting, admonitory or mournful - is as inspiring as the sound of the renowned period-instrument ensemble. 'Handel vividly, today, as a mirror of the metamorphoses of power'(Kurier) / 'Florian Boesch as Saul is a vocal and acting elemental force, simply an ideal cast' (Die Presse)

Description

In 2009, Claus Guth staged a highly impressive 'Messiah' at the Theater an der Wien; with 'Saul', he created again breathtaking musical theater at its finest. Florian Boesch in the title role dominates the production as the ruler slipping into madness. Boesch is an elemental force that attracts attention on stage like a black hole. As David, British countertenor Jake Arditti gives a perfect presentation of the change from the innocent boy to the man who, after many dramatic events, becomes Saul’s successor. 'The pure Handel stroke of luck!' (Neue Musikzeitung). Anna Prohaska (Merab), Giulia Semenzato (Michal) and Rupert Charlesworth (Jonathan) perform convincingly the roles of Saul’s children who succumb to David’s physical and spiritual charms. The Freiburger Barockorchester under Christopher Moulds holds a finely textured balance between powerful ensemble and delicate solo passages of Handel’s score. The Arnold Schoenberg Choir’s nuanced singing - alternately exulting, admonitory or mournful - is as inspiring as the sound of the renowned period-instrument ensemble. 'Handel vividly, today, as a mirror of the metamorphoses of power'(Kurier) / 'Florian Boesch as Saul is a vocal and acting elemental force, simply an ideal cast' (Die Presse)