'Aci, Galatea e Polifemo' will be performed for the first time at the Liceu in concert version on 16 June, with René Jacobs conducting the Kammerorchester Basel. The cantata by Händel (1708) tells the story of the love between Acis and Galatea and the jealousy of Polyphemus. Featuring Kateryna Kasper, Sophie Harmsen and Christian Senn. A unique opportunity at the Liceu to rediscover Händel.
The Belgian maestro René Jacobs returns to the Gran Teatre del Liceu on Tuesday 16 June conducting the serenata Aci, Galatea e Polifemo by Händel, at the head of the Kammerorchester Basel and with a stellar cast led by the Ukrainian soprano Kateryna Kasper, the South African mezzo-soprano Sophie Harmsen, and the Chilean-Italian bass-baritone Christian Senn.
Aci, Galatea e Polifemo is one of Händel’s finest early works, composed during the musical journey he undertook to Italy in 1706 at the age of 21, which marked a turning point in his career. In just four years, Händel went from being a promising young composer to becoming a leading European figure.
During that journey, Händel composed some of his finest early works, such as the opera Agrippina (Venice, 1709), the oratorio El triomf del temps i el desengany (Rome, 1707, which will be part of the 2026/2027 Liceu season), and the outstanding mythological cantata Aci, Galatea e Polifemo, composed to celebrate the wedding of a noble Neapolitan lady.
Aci, Galatea e Polifemo takes the form of a cantata or, as Händel himself described it, a three-voice serenata, with a clear dramatic structure and a psychological depth well ahead of its time.
The plot
The episode described in this work is one of the best known in Greek mythology, and tells the story of the love between the nereid Galatea —a sea nymph, daughter of Nereus, close relative of the god Poseidon— and the shepherd Acis, who represents the land. But this pure and complete love is threatened: the cyclops Polyphemus is in love with the nymph and, when he discovers her in the arms of Acis, he rushes to kill the shepherd.
The first attack fails because Galatea flees and invokes her father to save Acis. Thus, through a magical act, the couple is reunited in another secluded place where they can enjoy their love, but Polyphemus continues to pursue them in revenge. Eventually, he finds them again, kills Acis with a mighty blow of his club, and as his beloved bleeds to death, Galatea once again invokes the powers of Nereus, asking him to transform Acis’s blood into a river that flows into the sea. At the end, at its mouth, the creature of the waters will merge with him forever. Polyphemus, resigned, accepts his defeat: the faithful love of Galatea is stronger than his arm.
Baroque excellence under the direction of René Jacobs
The serenata Aci, Galatea e Polifemo holds a singular place within the output of Händel. It is, without doubt, one of the most significant works from his pre-English period and, at the same time, a nearly unknown piece, overshadowed by the scale of the operas, oratorios, and instrumental works he composed.
In the specific case of the Liceu, Händel has been a regular composer in recent years, but many of his works were still awaiting their premiere at the theatre. Now, with this Liceu premiere of Aci, Galatea e Polifemo, an outstanding debt is finally settled with an exquisite performance.
The Belgian maestro René Jacobs, one of the first countertenors and one of the world’s leading specialists in early music, will return to the Liceu to conduct the Kammerorchester Basel, a reduced ensemble as required by this intimate work, along with the voices of a powerful trio of soloists: the Ukrainian soprano Kateryna Kasper, the South African mezzo-soprano Sophie Harmsen, and the Chilean-Italian bass-baritone Christian Senn.
The revival of this early version at the Liceu is not only a high-quality musicological exercise, but also a meeting with history: the opportunity to hear at the theatre, thanks to outstanding performers and an impeccable conductor, one of the most beautiful scenic and love-driven works of the 18th century.
A magnificent gift, in short, for Händel enthusiasts and, in general, for lovers of Baroque music.
Key musical moments
Duet: Aci, Galatea
«Sorge il dì»
The program proposed by René Jacobs for this performance will begin with the overture of Agrippina, the most important of the operas Händel composed in Italy. This will be followed by the cantata in full, also with its own introductory sinfonia, and a first number of great beauty: the duet in which Acis and Galatea wake after a night of love and celebrate the arrival of a new day.
Händel’s vocal writing in this work adapts to all moods. Here it is sweet and pure; the orchestra has a pleasant pastoral feel, and from the very beginning the main themes of the work are presented: the power of love and the grandeur of nature.
Aria, Polyphemus
«Fra l'ombre e gl'orrori»
Long before Händel impressed London audiences with his slow and delicate arias—such as the famous Ombra mai fu from the opera Serse—he had already demonstrated his enormous talent for expressing deep emotions in one of the finest passages written for Polyphemus.
This aria is not only difficult due to its technical complexity—it spans two and a half octaves, a major challenge for bass-baritones—but also because it requires a very delicate emotional balance: Polyphemus must simultaneously convey his declaration of love and his terrible nature. When the low notes reach their deepest and slowest point, we perceive that we are facing a wounded monster.
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