FULL DON QUIXOTE (Telemann) Cumberland MD 2026 David Grogan, Harrison Hintzche, Jann Critz

Information on the Performance

• Work Title: Don Quichotte auf der Hochzeit des Comacho (Don Quixote at Comacho's Wedding)  
• Composer: Telemann Georg Philipp   
• Libretto: Daniel Schiebeler, based on chapter 20 of volume 2 of Cervantes's novel Don Quixote.  
• Venue & Opera Company: The Allegany Museum, Cumberland, Maryland, Mountainside Baroque  
• Recorded: May 17, 2026
• Type: Concert Semi-staged
• Singers: David Grogan, Harrison Hintzche, Jann Critz, Charlotte STewart, Corbin Philips, Alyssa Weathersby, Ben Hawker,
• Conductor: Lyle Nordstrom  
• Orchestra: Mountainside Baroque  
• Stage Director: Alyssa Weathersby  
• Costume Designer:   

Information about the Recording

• Format: DVD
• Quality Video: 4 Audio:4
• Subtitles: yessubs, ensubs  

• ADDITIONAL INFORMATION ON THIS PERFORMANCE

  Don Quichotte auf der Hochzeit des Comacho (Don Quixote at Comacho’s Wedding), TVWV 21:32, is a one-act comic serenata by Georg Philipp Telemann. The libretto by the student poet Daniel Schiebeler is based on chapter 20 of volume 2 of Cervantes’s novel Don Quixote.[a] The opera premiered on 5 November 1761 in Hamburg. When first performed, it was given the title: Don Quichotte auf der Hochzeit des Comacho; later it was also known as Don Quixote der Löwenritter (Don Quixote, the Knight of the Lions).

  Telemann uses the story’s occasions for humorous effects, including elements from the opera seria, to characterize the noble people, as well as folk music for the peasants.[4] Sancho Pansa is wittily portrayed, for example by “athletic leaps” in his recollection of earlier episode. The choruses often take instrumental and rhythmic ideas from Spanish folk music.[3][5] A reviewer notes:

  In summary, here is a work which should have a wide appeal for its musical diversity, skilful characterization and captivating melodies. In works such as this, the tension between established and newly emerging ideas, musical and dramatic, is to the fore, underlining both Telemann’s almost ceaseless interest in experimentation, and a seemingly ever-youthful curiosity which belies his advanced years.

  Quoted from Wikipedia

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