Modo Antiquo, Matteo Loi, Natalia Kawałek, Valeria La Grotta, Shira Patchornik, Camilo Delgado Díaz, Valeria Esposito, Martina Licari
Federico Maria Sardelli
Misattributed in the past to composers such as Pergolesi, the enduring success of Pietro Auletta’s L’Orazio saw it staged and adapted so many times over the centuries that its original 1737 structure is now lost. This is the opera’s first revival in modern times. The style of L’Orazio reflects the end of the Baroque period at a time in which refined galant and pre-Classical inflections were taking hold. The work’s comic narrative of romantic complications and rivalries take place amidst scenarios in which the music lessons of maestro Lamberto alternate with dubious theatricalengagements and carnival masquerades.
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