Ariodante

Ariodante is set in medieval Scotland, a chivalric world drawn from Ariosto’s Orlando furioso. Yet this is not what ultimately holds Handel’s attention: rather than seeking the exoticism or spectacle offered by such an archaic and marvellous setting, he turns instead to the intimate psychology of his characters.

The full complexity of human relationships lies at the heart of this remarkable libretto. We encounter, for instance, the character of Polinesso, whose darkness is highly unusual for the opera of the time, set in stark contrast to Ariodante, the embodiment of the perfect knight. Ariodante himself follows a deeply compelling psychological journey, moving from despair to the joy of rediscovered love with Ginevra.

The music is utterly sublime. It is no coincidence that, since the early days of Les Talens Lyriques, I have devoted myself to exploring Handel’s works, a path that remains as fruitful nearly thirty-five years later, such is the inexhaustible richness and beauty of his music. Ariodante has been a key milestone along the way, and it is with great pleasure that I return to it here, having last conducted it in Vienna in 2019. As for the soloists, I have chosen a cast of outstanding young singers, whose vocal freshness has captivated me as much as their exceptional virtuosity.

Christophe Rousset