MÁLAGA PHILHARMONIC ORCHESTRA 09/10
- 11 / 12 SEP
- 18 / 19 SEP
- 09 / 10 OCT
- 16 / 17 OCT
- 20 / 21 NOV
- 04 / 05 DEC
- 18 / 19 DEC
- 08 / 09 JAN
- 19 / 20 FEB
- 05 / 06 MAR
- 12 / 13 MAR
- 25 / 26 MAR
- 09 / 10 APR
- 21 / 22 MAY
- 04 / 05 JUN
NAVIDAD, F. HAENDEL
| · | Ticket sale | · | Prices | · | Purchase tickets | · | Seating capacity |
|---|---|---|---|---|---|---|---|
| 07 September | A 36€ B 27€ C 20€ D 12€ | Aplicables descuentos habituales | |||||
CHRISTMAS
Conductor ÁLVARO ALBIACH
Soloists
MARÍA ESPADA soprano
CARLOS MENA counterteno
JUAN SANCHO tenor
JOSÉ ANTONIO LÓPEZ bass
COR MADRIGAL
Conductor MIREIA BARRERA
Subconductor PERE LLUÍS BIOSCA
Messiah, G.F. Handel
After a series of operatic failures, George Frideric Handel premièred his latest piece, an oratorio composed in less than a month entitled Messiah at a charity concert held in Dublin’s New Music Hall. No one would have guessed a few weeks earlier that the piece would change the direction of Handel’s career for good. A reviewer said about the première: "... at a loss for words when attempting to express the exquisite enjoyment [the piece] gave the admiring and very full auditorium. The sublime, the great and the delicate, adapted to majestic and elevated words in motion, conspired to transport and cast a spell on captivated hearts and ears".
Nowadays, centuries later, few among us have not been captivated at some point by the triumphal spirit of his glorious “Hallelujah”. This is just one aspect of a magnificent mural containing different scenes of the life of Christ. While Handel was still alive, it became traditional to perform it annually at Easter (in Spain this was moved to Christmas), and precisely the last public appearance of the composer was eight days before his death, now 250 years ago, supervising yet another performance at London’s Covent Garden, in the country that witnessed the rise of his career and brought it to its culmination.
The music of this famous oratorio is a compendium of the different elements that Handel personally absorbed throughout his career. In Messiah we find the tradition of German passions, the melody of Italian bel canto arias, and the choral magnificence of English pieces. With arias, duets, recitals, instrumental pieces and especially choruses, and despite the lack of action, Messiah is evidence of a man with a deep theatrical sense and a talent for creating, in any context, vividly dramatic situations that, in line with the Baroque ideal of “moving the spirits”, move us deeply.
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