A young woman who wants her own father and it is indeed turned into a tree. A young man who loves himself so much that he ignores the advances of a nymph who in the end is just a voice. A goddess who turns her rival into a spider due to her amazing weaving skills. A man whose image of a woman who is perfect for him comes to life. A legendary singer whose lover is waiting for his return to the underworld.
They have been creating this for over 2000 years Metamorphosis of Ovid of our culture and are an inexhaustible source of inspiration for countless artistic adaptations. Like the characters in the individual stories, the stories themselves change, and their fantasy and monstrosity continue to fascinate to this day.The boundaries between humans and nature, gods and animals are blurred. Tho, the fantastic events arise from the human perception between dreams, reality, nightmares and hallucinations. Incredible and grotesque fantasies that overtake people in familiar surroundings in unknown places.
Ovid’s Cosmos and many other ancient materials created an incalculable wealth of music, especially in the first two centuries of the young opera genre. It was highly sentimental and emotional, and this new art form reflected playful lightness, subtle humor and an unbridled desire to transform. This is how the genre of pastiche came into existence, where one or more composers assembled new works from existing pieces. The basic plot elements were adapted, or an entirely new story was invented around the selected pieces of music. This permeable and versatile form of opera and oratorio flourished in Italy in the first half of the 18th century. Antonio Vivaldi himself came together for his pasticcio Tamerlane (The Bajazet) own compositions and third party compositions.
Vivaldi creates a unique variety of arias, ensembles and choruses for Hotel metamorphosis a pasticcio of our time containing single episodes from ovid Metamorphosis is told with this very emotional music. The transformations of the mythical figures become miraculous events that happen to people today. Vivaldi’s orchestral music, which often emphasizes individual instruments, offers a colorful spectrum to transform Ovid’s stories into dance and movement. The figure of Orpheus passes through the different worlds as a narrator.
Cecilia Bartoli has assembled an excellent voice cast for this new pastiche with Varduhi Abrahamyan, Lea Desandre and Philippe Jaroussky. The singers embody various characters on stage who have experienced their own metamorphosis and the metamorphosis of others.Angela Winkler works with them as an actress. Gianluca Capuano, Vivaldi expert and regular guest in Salzburg for many years, conducts Les Musiciens du Prince — Monaco. Director Barrie Kosky returns with this special project Orpheus in the underworld and Katya Kabanová back to the festival.
olaf A. Schmitt
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