‘Probably a dozen of the greatest arias of the early 18th century’
By Peter Alexander April 26 at 11:40 p.m.
Handel’s opera Ariodante is as old as 1516 when its story was first recorded, and as new as today.
Its theme, the lynchpin of many operas, is timeless: a man being believed before a woman. “Hashtag MeToo, right?” Leigh Homan, the director of CU’s Eklund Opera Program, says. “This is so relevant!”
The next CU opera production, Ariodantewill be presented Thursday through Sunday (April 26–29) in the intimate Music Theatre. Holman is the stage director, and Zachary Carrettin, director of the Boulder Bach Festival, will conduct the orchestra and a cast of CU students.
For a Baroque opera, the plot is fairly simple, a human drama with no divine intervention and no magic. The scheming Polinesso wants to marry princess Ginevra in order to gain the throne of Scotland, but Ginevra and her father, the King, are celebrating her engagement to Ariodante. With the help of Dalinda, a lady-in-waiting, Polinesso frames Ginevra for infidelity. The King cancels the wedding and renounces his daughter.\
“It says a lot that they believe the male who’s not in the royal family over the princess,” Carretin says. But all is not lost: Ariodante, who is thought to have killed himself in despair, returns in time to implicate Polinesso, the latter is killed in a duel, and the opera ends with the villain vanquished and the true lovers wed.
Read more in Boulder Weekly.
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Ariodante by George Frideric Handel
CU Eklund Opera Program
Zachary Carrettin, conductor
Leigh Holman, stage director
7:30 p.m. Thursday-Saturday, April 26–28
2 p.m. Sunday, April 29
Music Theatre, Imig Music Building