Cavalli's opera "Scipione Affricano" offers many possibilities for realisation on stage. In addition to the love plot, the opera also deals with the themes of freedom and slavery. The new edition which is part of the critical edition “Francesco Cavalli-Opere” offers opera houses a dependable basis.

The premiere in 1749 was a failure, but the second version of 1756 was highly acclaimed. Jean-Philippe Despite optimal production conditions and context, the premiere in 1749 was not a success. Only with the second fundamentally revised version of his “Zoroastre” did Jean-Philippe Rameau win the affections of the public. The theme of Louis de Cahusac’s libretto, drawn from ancient Persian sources, is the battle between good and evil, fought out here by the religious reformer Zoroastre and his adversary, the ambitious sorcerer Abramane. This drastic dualistic juxtaposition enabled the librettist to introduce elements of ritual and belief from Freemasonry. With Graham Sadler’s new edition of the second version, published as part of the “Opera Omnia Rameau”, and the performance material available on hire, this successful performance tradition can now be continued.

It is hard to believe, but Jean-Philippe Rameau’s Opus summum et ultimum “Les Boréades”, only premiered in 1975 in London, has never before been heard in a German opera house. This is no doubt because of the problematic access to the posthumously-published work. Long awaited by the music world, and by connoisseurs of Rameau in particular, Bärenreiter has just published a critical new edition meticulously prepared by Sylvie Bouissou, Editorial Director of the “Opera Omnia Rameau”. The enterprising Oldenburg Staatstheater, renowned for its Rameau productions, did not want to miss out on this double chance, and on 2 October presents the first German production of “Les Boréades” – at the same time the first performance using the new edition. Under director Christoph von Bernuth, Rameau’s legacy proves to be a parable of the Enlightenment and of striking timeless relevance. Alexis Kossenko conducts once again, following his triumphant success with Rameau’s comédie-ballet “Les Paladins” two years ago in Oldenburg. A further eleven performances are scheduled until 20 November. This gives opera connoisseurs from the larger musical centres the opportunity to experience the programming policy and high artistic level of one of the smaller German opera houses.

Bohuslav Martinů composed his “Polní mše” (“Field Mass”) in exile in Paris
This popular work for male voices and ensemble has now been published in an authoritative Edition.

The first performance of Ferdinando Paër’s “Leonora” (1804) using the critical new edition, previously announced in the last [t]akte-Newsletter, will take place at the Innsbruck Festival of Early Music as planned on 7, 9 and 11 August, despite restrictions due to Corona virus. The Festival Orchestra, conducted by Alessandro de Marchi, will play on the stage of the Tiroler Landestheater and the vocal soloists will act their parts in front of the orchestra without full costumes or masks. Ferdinando Paër was Kapellmeister in Dresden, and Ludwig van Beethoven was familiar with Paër’s work, which was premiered a year before his own „Leonore“. Following cancellations of performances in Schwetzingen, Martina Franca (Italy) and Bonn, this will be the only opportunity to hear Paër’s work in the Beethoven anniversary year.

The new edition of the opera “Dardanus” by Jean-Philippe Rameau in the version from May 1744 presents the work in the definitive form intended by the Composer.

For his opera “Alessandro” Handel was able to engage the best singers of his day in 1726. Today too, the work, with its fictitious plot, continues to offer ample subject matter for a bravura opera evening.