A Teatro Praga show with
the musical collaboration of Ludovice Ensemble
From William Shakespeare’s and Henry Purcell’s
Timon Of Athens.
APEMANTUS I love thee better now than e’er I did.
TIMON I hate thee worse.
In 2010, the Teatro Praga presented at the CCB’s Great Auditorium A Midsummer Night’s Dream, a show that started from a semi-opera by Henry Purcell, The Fairy Queen, which in turn started with a text by Shakespeare , A Midsummer Night’s Dream. Three years later, in the same auditorium, Teatro Praga returned to Shakespeare and Purcell, appropriating another English musical composition written to animate a Thomas Shadwell adaptation of a Shakespeare play: The Tempest or The Haunted Island. Six years after The Tempest and nine years after A Midsummer Night’s Dream, Teatro Praga completes what has always been thought of as a trilogy.
Timon of Athens is a musical composition of Henry Purcell, dated 1694, written at the invitation of Thomas Shadwell, who once again adapted the text of Shakespeare (The Life of Timon of Athens) and commissioned the young Purcell a “masquerade” ). The masquerade was a form of entertainment practiced between members of the court and quite in vogue in the sixteenth and seventeenth centuries. It involved music, dance, song and representation, with elaborate scenographies and sumptuous costumes. The masqueraders were usually members of the court and sometimes the king himself, accompanied by actors and professional singers.
If in A Midsummer Night’s Dream one sought the place of power once occupied by the monarch, and how the figure of the programmer or curator plays a central role in the definition of the art worth; if The Tempest turned to the artist, to whom he plays, and to the relation of this with the medium (public, theater, written); the third moment of the trilogy, which follows the format of the Theater of Restoration, should focus on the link between art and capitalism, moving towards a progressive abandonment of objects, concretization and sharing and approaching an individualistic, to generate capital without producing material. Timon of Athens from the Teatro Praga goes looking for the best way to end it.
Creation | Teatro Praga (André e. Teodósio, Cláudia Jardim, José Maria Vieira Mendes e Pedro Penim)
Direction Ludovice Ensemble | Fernando Miguel Jalôto
Text | José Maria Vieira Mendes
Cast | André e.Teodósio, Cláudia Jardim, Diogo Bento, Joana Barrios, Patrícia da Silva e Pedro Penim, João Abreu, David Mesquita, Marcello Urgeghe
Singers | Ana Quintans (Cupido [soprano]), Joana Seara (Ninfa [soprano]), André Baleiro (Baco [barítono]), Fernando Guimarães (Seguidor de Baco I [tenor]) e André Lacerda (Seguidor de Baco II [tenor]).
Orchestra | Stephen Mason (Trombeta), Joana Amorim (Flautas), Pedro Lopes e Castro (Oboé e Flautas), Andreia Carvalho (Oboé), José Rodrigues Gomes (Fagote e Flautas), Sabine Stoffer (Concertino/Violino solo), Patrizio Germone (Violino solo), César Nogueira (Violino), Flávio Aldo (Violino), Álvaro Pinto (Violino), Denys Stetsenko (Violino), Lúcio Studer (Viola), Sofia Diniz (Viola da Gamba), Marta Vicente (Grande Viola da Gamba), Vinícius Perez (Tiorba/Guitarra), Fernando Miguel Jalôto (Cravo)
Artistic support | Vasco Araújo
Video (concept & edition) | André Godinho
Cameras | (to be defined)
Scenography | Joana Sousa
Costume design | Joana Barrios
Sound design | Miguel Lucas Mendes
Light design | Daniel Worm d’Assumpção
Head of production | Andreia Carneiro
Production | Alexandra Baião