This October, The Royal Opera and La Nuova Musica present a brand-new production of Handel’s Giustino in the Linbury Theatre – the first staging of the piece at the Royal Opera House since its premiere in 1737.
Acclaimed director Joe Hill-Gibbins makes his debut, following celebrated productions of Greek (Scottish Opera); Powder Her Face, Duke Bluebeard’s Castle and The Marriage of Figaro (English National Opera). Hill-Gibbins has also directed productions across the West End, for the Young Vic, the Royal Court, the National Theatre, the Almeida Theatre, and Shakespeare’s Globe, including the recent hit production Ghosts.
The latest in The Royal Opera’s Handel series, Giustino is a co-production with specialist baroque ensemble La Nuova Musica, who perform Handel’s score in a new arrangement created by Music Director David Bates alongside Hill-Gibbins. The ensemble make their Royal Opera debut following regular appearances at Wigmore Hall and the London Handel Festival. The creative team for Giustino includes Hill-Gibbins’ long-term collaborators Rosanna Vize as designer and Jenny Ogilvie as Associate Director, and James Farncombe as lighting designer.
Giustino features a range of esteemed baroque artists alongside some of the most exciting young artists in the field, with debut performances from Polly Leech in the role of Giustino, Mireille Asselin as Arianna/La Fortuna, and Esme Bronwen-Smith as Leocasta. Keri Fuge will perform the role of Anastasio. Jake Arditti performs the role of Amanzio, returning to the Linbury Theatre after previously appearing in SUM, created by Max Richter and Wayne McGregor for The Royal Opera. Benjamin Hulett performs as Vitaliano, following his cover performance as Francois in A Quiet Place last Season, and Jonathan Lemalu performs as Polidarte.
Joe Hill-Gibbins, director of Giustino, said:
“I’m over the moon to be making my first show with The Royal Opera with Giustino, which was made for this theatre in the 1700s and unseen there since.
Giustino is a simple story, about a young boy’s journey into adulthood, but the richness of the music also offers us a complex take on those themes. It asks us questions about all the things we gain as we enter the adult world, but also about what we lose – where we’re compromised or corrupted as we try to find meaning in personal and professional relationships, and make our mark in a complex and dangerous world.
I can’t wait for audiences to see the show and I’m delighted to be working with the incredible La Nuova Musica and our outstanding cast to bring Giustino to life.”
