Orchestra of the Age of Enlightenment
História
The Orchestra of the Age of Enlightenment (OAE) is a British period instrument orchestra. The OAE is a resident orchestra of the Southbank Centre, London, associate orchestra at Glyndebourne Festival Opera and has its headquarters at Kings Place. A group of period instrumentalist players formed the OAE as a self-governing ensemble in 1986, and took its name from the historical period in the late 18th century where the core of its repertoire is based. The OAE does not have a principal conductor, but chooses conductors individually. Having no permanent music director gives the orchestra flexibility to work with some of the world’s greatest conductors and soloists across a wide range of music
This is an excellent production of Mozart's 1791 opera about Titus Vespasian, who prefers to be remembered for his clemency, even toward his best friend who instigated a revolt to overthrow him. It was recorded at Glyndebourne on August 3, 2017, in front of an audience, and the orchestra and singers perform the work beautifully
Mozart's second collaboration with the mercurial librettist Lorenzo da Ponte is among the very blackest of black comedies. Glyndebourne welcomes back the winning team of director Jonathan Kent and designer Paul Brown, while the music is conducted by Vladimir Jurowski. In the title role, the bass-baritone Gerald Finley, joined by Luca Pisaroni, Kate Royal and the young Russian soprano Anna Samuil.
Jonathan Kent's spectacular production of Purcell's huge semi-opera is joyous, imaginative and witty. Glyndebourne, with its intimate auditorium, provides the perfect setting for the drama which is partly spoken and partly sun. Based on an adaptation of Shakespeare's A Midsummer Night's Dream,
From the very first bars of the Coriolan Overture, it is apparent that this is Beethoven at his very best. Vladimir Jurowski and his absolutely brilliant Orchestra of the Age of Enlightenment give us a new reading of old favorites that may well blow you out of your chair. There is plenty to discover: sounds and textures never heard before, an orchestral timbre as the composer himself may have envisaged and heard, incredible strength and cohesion and, on the other hand, sensitive nuances that often disappear under a blanket of massed strings in more traditional interpretations.
In Glyndebournes first-ever staging of a opera by Rameau, director Jonathan Kent presents a production which, in his own words, strives to appeal to every sense and show audiences how engrossing and musically ravishing French Baroque opera can be. Rameaus inventive take on Racines great tragedy Phèdre is brought to life by Paul Browns colourful and elegant designs and Ashley Pages playful choreography. Ed Lyon and Christiane Karg give captivating performances as the titular young lovers, while Sarah Connolly, making a welcome return to Glyndebourne, invests Phaedra with both grandeur and a desperately human vulnerability (The Independent). Leading exponent of early music William Christie sets an exhilarating pace, galvanising the Orchestra of the Age of Enlightenment to playing of tremendous panache (The DailyTelegraph).
Mozart's genius in setting to music da Ponte's comic play of love, infidelity and forgiveness marks COSI FAN TUTTE as one of the great works of art from the Age of Enlightenment. Nicholas Hytner's beautiful new production, with its sure touch and theatrical know-how, lives up to its promise to be "shockingly traditional" as Iván Fischer teases artful performances from an outstanding international cast of convincing young lovers.
David McVicar’s production of Giulio Cesare manages to combine serious insight with entertainment, bringing Handel's masterpiece to life in a powerful, convincing and highly intelligent way. ln every line of the complex narrative the subtle nuances are apparent, reflecting perfectly the transparent and exquisite nature of Handel's musical expression. Filmed in High Definition and recorded in true surround sound, the outstanding singing of the all-star cast, led superbly by Sarah Connolly, and the vivid playing of the Orchestra of the Age of Enlightenment under the energising baton of William Christie reveal the colour and dramatic character of Handel’s music in a most delightful manner.
Director David McVicar's original-period vision for this Mozartian gem allows its genius to speak for itself, offering a ‘mesmerising, sensitive … outstanding’ portrayal of Enlightenment-era fascination with the East that is both ‘exquisitely acted and sung’, featuring a Konstanze and a Belmonte sung with ‘finesse and bravura’ and a ‘sensationally voiced’ Osmin (The Guardian *****). Comic relief in Glyndebourne's ‘brilliant production’ is provided by ‘beautifully sung live-wire performances’ of Pedrillo and Blonde, and Robin Ticciati leads the Orchestra of the Age of Enlightenment through a restored, authentic rendition of the critical score with ‘lovely fizz’ and ‘poignant gravitas’ (The Independent). Filmed in High Definition and recorded in true Surround Sound.
