MOVIEmeter
SEE RANK
Down 234,481 this week

Ariodante (1996)

TV Movie  -   -  Music
7.8
Your rating:
    1 2 3 4 5 6 7 8 9 10 -/10 X  
Ratings: 7.8/10 from 14 users  
Reviews: 2 user

On 8th January 1735 at the Covent Garden in London, Georg Friederich Handel presented his new opera Ariodante on a libretto by Antonio Salvi adapted by Paolo Rolli and inspired by Ariosto. ... See full summary »

Director:

Writers:

(libretto), (adaptation)
0Check in
0Share...

Watch Now

From $1.99 on Amazon Instant Video

User Lists

Related lists from IMDb users

a list of 49 titles
created 27 Sep 2012
 

Related Items

Search for "Ariodante" on Amazon.com

Connect with IMDb


Share this Rating

Title: Ariodante (TV Movie 1996)

Ariodante (TV Movie 1996) on IMDb 7.8/10

Want to share IMDb's rating on your own site? Use the HTML below.

Take The Quiz!

Test your knowledge of Ariodante.

Videos

Photos

Edit

Cast

Credited cast:
Gwynne Howell ...
King of Scotland
Joan Rodgers ...
Ginevra
Ann Murray ...
Ariodante
Paul Nilon ...
Lurcanio
...
Polinesso
Lesley Garrett ...
Dalinda
Mark Le Brocq ...
Odoardo
Carol Grant ...
Dancers
Kyrie Hardiman ...
Dancers
Irene Hardy ...
Dancers
Rachel Lopez de la Niéta ...
Dancers
Leesa Phillips ...
Dancers
Sirena Tocco ...
Dancers
Rest of cast listed alphabetically:
Ivor Bolton ...
Himself - Conductor
English National Opera Chorus ...
Chorus
Edit

Storyline

On 8th January 1735 at the Covent Garden in London, Georg Friederich Handel presented his new opera Ariodante on a libretto by Antonio Salvi adapted by Paolo Rolli and inspired by Ariosto. The opera did not immediately win public favour and thus failed to furnish a definitive solution for the fate of Handel's company, but with time it was to be understood and appreciated and has remained on playbills among the more successful and interesting titles. Handel's particular attention to the expressive aspect was most probably the reason for the opera's limited commercial success: the characters fit only partially into the customary types of opera of the day. The tendency to formulate autonomous patterns in the expressive genre is also underlined by an illustrious contemporary, John Mainwaring, in his Memoirs of the life of George Frederick Handel. Extraordinary is also the strength of the instrumental composition, which again in Ariodante is intended now as support to the voices now as ...

Plot Summary | Add Synopsis

Plot Keywords:

opera | See All (1) »

Genres:

Music

Edit

Details

Country:

Language:


Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

See  »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

 
Opera for the deaf
9 November 2004 | by (Birmingham, England) – See all my reviews

English National Opera specialises in operas in translation. One might imagine that the invention of surtitles in the opera house and subtitles on films would render it obsolete, but apparently not. Here we have an opera that Handel wrote in Italian for the English stage, but which is stubbornly translated into English in this ENO version. Fortunately the translation, by Amanda Holden, is excellent. Also the singers' enunciation is so good that the listener can understand about 90% of what is sung, quite a feat in any opera. Furthermore, in this film, each scene is preceded by a caption explaining what is going to happen next, presumably for the benefit of deaf opera-lovers.

Handel's operas are a challenge to modern audiences, classical themes, da capo arias, few duets or larger ensembles, the best parts written for castrati. They are also a challenge to the director who needs to recreate the excitement and spectacle of these pieces as they were performed on the 18th century stage. We have all seen enough of Così Fan Tutte set in a lap dancing club or Don Giovanni set in a public lavatory but a piece like Ariodante really does need a director to impose his own concept on it. This David Alden, the stage director, fails to do. What he gives us is a traditionally set, traditionally dressed, fairly uninteresting rendition of the action.

Ann Murray as Ariodante wears a suit of armour that features a large breastplate and drainpipe trousers so that she looks like a funky chicken. She sings the role well, only in the more ornate passages that do not roll easily off the tongue in English does she look and sound as though she is about to lay an egg. The other castrato role is sung by Christopher Robson as Polinesso. I sometimes have difficulty with men singing castrato parts because the voice does not match the body. I found that if I closed my eyes and kept my legs crossed he sounded quite pleasant. The best performances come from men playing men and women playing women. Gwynne Howell as the king of Scotland, Joan Rogers as Ginevra and Paul Nilon as Lurcanio are all excellent. Lesley Garrett as Dalinda is outstanding vocally and also acts everyone else off the stage. These days she is a cross-over diva which, in some ways, is a pity given her undoubted operatic ability.

Handel inserted a number of ballet scenes into this opera to add spectacle but, in this film, the dance of the zombies and the gratuitous incest and nudity are a mistake, as is the spaceship in act II.


3 of 4 people found this review helpful.  Was this review helpful to you?

Message Boards

Discuss Ariodante (1996) on the IMDb message boards »

Contribute to This Page

Create a character page for:
?