Wagner’s “Der Fliegende Holländer” in Tokyo

newDer fliegende Holländer

Music by Richard WAGNER
Opera in 3 acts
Sung in German with Japanese surtitles
Opera Palace

January 18, 21, 25, 31   2:00 PM
January 28, 7:00 PM

Hollander

WAGNER almost experienced a shipwreck, which inspired him to write this opera early in his career based on a modern English legend about a Dutch ship captain who is doomed to sail the oceans forever as punishment for his blasphemy. The story tells how the love of the young maiden, Senta, saves the cursed Dutch captain. Salvation through love and self-sacrifice became a common theme in all of WAGNER’s works thereafter. Matthias von STEGMANN’s production was first presented in 2007, staged again in 2012, and here again for the third time.

Thomas Johannes MAYER and Ricarda MERBETH, playing the two main roles, are both seasoned singers performing regularly at the Bayreuth Music Festival. Daniel KIRCH is Erik, a difficult role to play, and Rafal SIWEK sings as Daland. SIWEK is also to appear in Don Carlo as Filippo II. New Artistic Director, IIMORI Taijiro, will be conducting.

Staff

Iimori Taijiro

IIMORI Taijiro

Conductor IIMORI Taijiro

Production Matthias Von STEGMANN

Scenery Design HORIO Yukio

Matthias Von STEGMANN

Matthias Von STEGMANN

Costume Design HIBINO Kodue

Lighting Design ISONO Mutsumi

Cast

Rafal SIWEK

Rafal SIWEK

Daland Rafal SIWEK

 

 

Ricarda MERBETH

Ricarda MERBETH

Senta Ricarda MERBETH

 

 

Daniel KIRCH

Daniel KIRCH

Erik Daniel KIRCH

 

 

 

TAKEMOTO Setsuko

TAKEMOTO Setsuko

Mary TAKEMOTO Setsuko

 

 

 

MOCHIZUKI Tetsuya

MOCHIZUKI Tetsuya

Steuermann MOCHIZUKI Tetsuya

 

 

 

Thomas Johannes MAYER

Thomas Johannes MAYER

Holländer Thomas Johannes MAYER

 

 

 

Chorus New National Theatre Chorus

Orchestra Tokyo Symphony Orchestra

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“Nabucco” in Poland with great historical costumes

polandlogoNABUCCO

Giuseppe Verdi

nabucco1

Sun 6:00pm January 4, 2015
Moniuszko Auditorium

Opera in four acts
Libretto: Temistocle Solera after the drama by Auguste Aniceta-Bourgeois and Francis Cornue
World premiere: Regio Teatro alla Scala, Milano, 9/03/1842
Warsaw premiere: 25/02/1854, Teatr Wielki, Warsaw
Premiere of this production: 26/06/1992
Original language version with Polish surtitles

duration: 3 hrs, including: 2 intermissions

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Conductor: Andriy Yurkevych
Direction: Marek Weiss
Set Design: Andrzej Kreutz Majewski
Costumes: Jacek Majewski
Choreography: Emil Wesołowski
Chorus Master: Bogdan Gola
Lights: Stanisław Zięba
Soloists, Chorus and Orchestra of Polish National Opera, Polish National Ballet

Photo: Marek Górecki
Poster for the production, designed by Wiktor Sadowski

Nabucco3

Cast:

Nabucco – Mikołaj Zalasiński
Fenena – Anna Lubańska
Ismaele – Tomasz Kuk
Zaccaria – Aleksander Teliga
Abigaille – Lilla Lee
High Priest – Mieczysław Milun
Abdallo – Łukasz Załęski
Anna – Monika Świostek

Nabucco4

An amazing work by a 29-year-old, only third on the long list of Verdi’s operatic achievements, and not even counted among his greatest accomplishments. Though it is a piece strongly reliant on the model of Italian bel canto, which Verdi with his brilliant intuition was soon to overcome, Nabucco is only less popular than three huge hits by this composer: La Traviata, Rigoletto and Aida, while coming a very high 18th on the list of the world’s most often staged operas (according to Operabase).

Nabucco5This massive success of Nabucco practically stems from one, just four-minute fragment – the most famous chorus in opera’s history – “Va, pensiero”. Intoned against the background of a conventionally simplified orchestral accompaniment, thanks to its moving melody that is sung – unusually for a chorus, though extremely symbolic – in one voice (in unison), this song of Hebrew slaves quickly became the unofficial anthem of the Italians. Marek Weiss’s clever staging, embedded in a hieratic space created by the greatest talent in the history of Polish opera design, the late Andrzej Kreutz Majewski, has been performed in Warsaw for over 22 years and invariably draws crowds of admirers hungry for beautiful singing backed by equally attractive tableaux.

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Synopsis

Time: 587 BC
Place: Jerusalem and Babylon

Act 1: Jerusalem

‘Thus saith the Lord, Behold, I shall deliver this city into the hand of the King of Babylon, and he will burn it with fire’ (Jeremiah 21:10)

Interior of the Temple of Solomon

The Israelites pray as the Babylonian army advances on their city (Gli arredi festivi giù cadano infranti / “Throw down and destroy all festive decorations”). The High Priest Zaccaria tells the people not to despair but to trust in God (D’Egitto là su i lidi / “On the shores of Egypt He saved the life of Moses”). The presence of a hostage, Fenena, younger daughter of Nabucco, King of Babylon, may yet secure peace (Come notte a sol fulgente / “Like darkness before the sun”). Zaccaria entrusts Fenena to Ismaele, nephew of the King of Jerusalem and a former envoy to Babylon. Left alone, Fenena and Ismaele recall how they fell in love when Ismaele was held prisoner by the Babylonians, and how Fenena helped him to escape to Israel. Nabucco’s supposed elder daughter, Abigaille, enters the temple with Babylonian soldiers in disguise. She, too, loves Ismaele. Discovering the lovers, she threatens Ismaele: if he does not give up Fenena, Abigaille will accuse her of treason. If Ismaele returns Abigaille’s love, however, Abigaille will petition Nabucco on the Israelites’ behalf. Ismaele tells Abigaille that he cannot love her and she vows revenge. Nabucco enters with his warriors (Viva Nabucco / “Long live Nabucco”). Zaccaria defies him, threatening to kill Fenena if Nabucco attacks the temple. Ismaele intervenes to save Fenena, which removes any impediment from Nabucco destroying the temple. He orders this, while Zaccaria and the Israelites curse Ismaele as a traitor.Nabucco7

Act 2: The Impious One

‘Behold, the whirlwind of the Lord goeth forth, it shall fall upon the head of the wicked’ (Jeremiah 30:23)

Scene 1: Royal apartments in Babylon

Nabucco has appointed Fenena regent and guardian of the Israelite prisoners, while he continues the battle against the Israelites. Abigaille has discovered a document that proves she is not Nabucco’s real daughter, but the daughter of slaves. She reflects bitterly on Nabucco’s refusal to allow her to play a role in the war with the Israelites and recalls past happiness (Anch’io dischiuso un giorno / “I too once opened my heart to happiness”). The High Priest of Baal informs Abigaille that Fenena has released the Israelite captives. He plans for Abigaille to become ruler of Babylon, and with this intention has spread the rumour that Nabucco has died in battle. Abigaille determines to seize the throne (Salgo già del trono aurato / “I already ascend the [bloodstained] seat of the golden throne”).

Scene 2: A room in the palace

Zaccaria reads over the Tablets of Law (Vieni, o Levita / “Come, oh Levite! [Bring me the tables of the law]”), then goes to summon Fenena. A group of Levites accuse Ismaele of treachery. Zaccaria returns with Fenena and his sister Anna. Anna tells the Levites that Fenena has converted to Judaism, and urges them to forgive Ismaele. Abdallo, a soldier, announces the death of Nabucco and warns of the rebellion instigated by Abigaille. Abigaille enters with the High Priest of Baal and demands the crown from Fenena. Unexpectedly, Nabucco himself enters; pushing through the crowd, he seizes the crown and declares himself not only king of the Babylonians but also their god. The high priest Zaccaria curses him and warns of divine vengeance; an incensed Nabucco in turn orders the death of the Israelites. Fenena reveals to him that she has embraced the Jewish religion and will share the Israelites’ fate. Nabucco is furious and repeats his conviction that he is now divine (Non son più re, son dio / “I am no longer King! I am God!”). There is a crash of thunder and Nabucco promptly loses his senses. The crown falls from his head and is picked up by Abigaille, who pronounces herself ruler of the Babylonians.nabucco8

Act 3: The Prophecy

‘Therefore the wild beasts of the desert with the wild beasts of the islands shall dwell there, and the owls shall dwell therein’. (Jeremiah 50:39)

Scene 1: The Hanging Gardens of Babylon

Abigaille is now Queen of Babylon. The High Priest of Baal presents her with the death warrant for the Israelites, as well as for Fenena. Nabucco, still insane, tries to reclaim the throne without success. Though his consent to the death warrant is no longer necessary, Abigaille tricks him into signing it. When Nabucco learns that he has consigned his (true) daughter to death, he is overcome with grief and anger. He tells Abigaille that he is not in fact her father and searches for the document evidencing her true origins as a slave. Abigaille mocks him, produces the document and tears it up. Realizing his powerlessness, Nabucco pleads for Fenena’s life (Oh di qual onta aggravasi questo mio crin canuto / “Oh, what shame must my old head suffer”). Abigaille is unmoved and orders Nabucco to leave her.

Scene 2: The banks of the River Euphrates

The Israelites long for their homeland (Va pensiero, sull’ali dorate / “Fly thought on golden wings; [Fly and settle on the slopes and hills]”). The high priest Zaccaria once again exhorts them to have faith: God will destroy Babylon. The Israelites are inspired by his words.Nabucco9

Act 4: The Broken Idol

‘Bel is confounded, Merodach is broken pieces; her idols are confounded, her images are broken in pieces.’ (Jeremiah 50:2)

Scene 1: The royal apartments, Babylon

Nabucco awakens, still confused and raving. He sees Fenena in chains being taken to her death. In despair, he prays to the God of the Hebrews. He asks for forgiveness, and promises to rebuild the temple in Jerusalem and convert to Judaism if his prayers are answered (Dio di Giuda / “God of Judah! [The altar, your sacred Temple, shall rise again]”). Miraculously, his strength and reason are immediately restored. Abdallo and loyal soldiers enter to release him. Nabucco resolves to rescue Fenena and the Israelites as well as to punish the traitors.Nabucco10

Scene 2: The Hanging Gardens of Babylon

Fenena and the Israelite prisoners are led in to be sacrificed (Va! La palma del martirio / “Go, win the palm of martyrdom”). Fenena serenely prepares for death. Nabucco rushes in with Abdallo and other soldiers. He declares that he will rebuild the Temple of Jerusalem and worship the God of the Israelites, ordering the destruction of the idol of Baal. At his word, the idol falls to the ground of its own accord and shatters into pieces. Nabucco tells the Israelites that they are now free and all join in praise of Jehovah. Zaccaria proclaims Nabucco the servant of God and king of kings. Abigaille enters, supported by soldiers. She has poisoned herself. She begs forgiveness of Fenena, prays for God’s mercy and dies.

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“The Magic Flute” in Berlin

deutsche

Presents:

magic4The Magic Flute

Wolfgang Amadeus Mozart (1756 – 1791)

Opera in two acts
Libretto by Emanuel Schikaneder
First performed on 30. September, 1791 in Vienna
Premiered at the Deutsche Oper Berlin on 24. September, 1991

In German with German and English surtitles

Photo credits: The Magic Flute © 2013, Bettina Stößmagic10magic6magic8

3 hrs / 1 interval

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Cast

Conductor Moritz Gnann
Director Günter Krämer
Stage-design, Costume-design Andreas Reinhardt
Choir Conductor Thomas Richter
Sarastro Tobias Kehrer
Tamino Matthew Newlin
Speaker Stephen Bronk
1st priest Carlton Ford
2nd priest Jörg Schörner
Queen of the Night Nina Minasyan
Pamina Heidi Stober
1st lady Adriane Queiroz
2nd lady Stephanie Lauricella
3rd lady Ronnita Miller
Papagena Alexandra Hutton
Papageno Simon Pauly
Monostatos Burkhard Ulrich
1st armoured man Paul Kaufmann
2nd armoured man Albert Pesendorfer
Three boys Solisten des Tölzer Knabenchores
Chorus Chor der Deutschen Oper Berlin
Orchestra Orchester der Deutschen Oper Berlin

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Information

magic2Prince Tamino is menaced by a wild dragon. At the last moment he is saved by three mysterious women, who have been sent by the Queen of the Night. When the bird catcher Papageno appears and boasts of his heroic deed as dragon slayer, the three ladies punish him. They present the Prince with a picture of Pamina, the Queen’s daughter, who has been imprisoned by Sarastro, Regent of the Sun Temple. Tamino falls in love with her. The Queen appears in person and orders him to join forces with Papageno to save Pamina. They give Tamino a magic flute for protection and the reluctant Pagageno receives a glockenspiel of magical chimes. Led by three boys, the two heroes begin their journey to Sarastro’s castle. Tamino is twice prevented from entering by the gatekeepers. At the third attempt they inform him that Sarastro is nothing like the cruel tyrant that the Queen of the Night has made him out to be. Papageno finds Pamina and tries to escape with her.

magic1He is able to stall her guard Monostatos with the help of the chimes, but the appearance of Sarastro puts an end to all attempts to flee. Papageno, Pamina and Tamino are compelled to stay in Sarastro’s temple and submit to a series of life-threatening trials. First of all they have to learn to be silent, which is especially difficult for Papageno. When an old woman passes, Papageno cannot restrain himself and asks her what her name is. She disappears in a clap of thunder. Papageno consoles himself with the food that is so miraculously served to them. Tamino keeps silent, playing on his flute. Pamina appears, in deep despair that Tamino is no longer talking to her. Her mother has already entreated her in vain to murder Sarastro. When she decides to end her life the three boys seize her dagger and lead her to Tamino. Protected by the flute, both of them pass the ordeals of fire and water, and have now successfully completed all the trials. Meanwhile Papageno, in his great loneliness, conjures up the old woman again and promises to marry her, »if there’s nothing better to be had«.

magic5All of a sudden she is transformed into a beautiful young girl, but their time has not yet come and she is taken from him again. In his despair he decides to end his life, but the three boys remind him of the magic chimes. Their tinkling brings back Papagena, and the reunion sets them both dreaming of a happy future together. The other pair is happy, too: Tamino and Pamina are inducted into the Society of the Enlightened, which celebrates the ideals of Nature, Wisdom and Reason. Only for the Queen of the Night does the story take a turn for the worse: when she attempts to enter the temple along with her entourage she is devoured by the spirits of darkness.

Mozart’s MAGIC FLUTE is the most frequently performed opera in the German-speaking world. This variegated masterpiece straddling Viennese popular theatre, fairytale, myth and the mystery of freemasonry is a puzzle even today: did Mozart and his librettist Schikaneder switch horses in mid-stream, changing allegiance from the Queen of the Night to Sarastro? Should one not distrust the holier-than-thou world of the priests and an ideology that divides the world into good and evil? Are there not traces, even, of discrepancies between text and music, as many a Mozart expert has suggested? Whatever the facts of the matter, it is the music that smooths the contradictions of the plot, elevating them to a worldly realism. The music does not denounce the characters but rather confers on the conflicts an existential dimension. Without this dimension the opera would come over as an irrational fairytale.

Supported by Förderkreis der Deutschen Oper Berlin e.V. and Deutschen Philips Unternehmen

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The Barber of Seville in Norway

logonorwayDecember 21.–February 20

The Barber of Seville

Following two seasons of great success in the Second House, The Barber of Seville is now coming to the Main House.
Performed in Italian/ Texted in Norwegian and English
3 hours / 1 intermission

barber6Gioachino Rossini’s classic comic opera is about who will win the young Rosina. Will Count Almaviva succeed, or will she end up with the elderly Doctor Bartolo, who has locked her in?
In this version, the story is told from Rosina’s point of view. Director François De Carpentries and set designer Karine Van Hercke use her diary as a visual and conceptual starting point, in which the maiden’s storm of feelings are broken down, reflected and expressed. We become part of a game that is entertaining and infectiously funny, but also vulnerable and confused: the game of a young woman who is on a journey of becoming.
The young, sought-after soprano Pretty Yende makes her debut in the role of Rosina in Oslo. Next season she will reprise the role at venues such as the Metropolitan Opera in New York.
Free introduction one hour before the performance

    • Original title: Il barbiere di Siviglia
    • Music : Gioacchino Rossini
    • Libretto : Cesare Sterbini
    • Conductor : Enrique Mazzola, Rune Bergmann
    • Direction : François De Carpentries
    • Set design and costumes : Karine Van Hercke
    • Cast : The Opera Chorus, The Opera Orchestra

CAST

figaroEspen Langvik as Figaro

 

 

 

 

rosinaPretty Yende as Rosina

Playing the following days

12/21/2014
12/27/2014
12/31/2014
1/3/2015
1/7/2015
1/10/2015
1/13/2015
1/16/2015

 

rosina2Lina Johnson as Rosina

Playing the following days

1/5/2015
2/2/2015
2/4/2015
2/18/2015
2/20/2015

 

Tuomas_KatajalaTuomas Katajala as Count Almaviva

 

 

 

 

 

Marco_Filippo_RomanoMarco Filippo Romano as Dr. Bartolo

 

 

 

 

 

 

Melis_JaatinenMelis Jaatinen as Berta

 

 

 

 

Jens-Erik-AasboeJens-Erik Aasbø as Don Basilio

 

 

 

 

 

SYNOPSIS

Act 1

At night, Count Almaviva brings a band of musicians to serenadeRosina, pupil of Dr. Bartolo, who keeps the girl confined in his house.When Rosina fails to answer his song, the count pays the players, andthey leave. At the sound of Figaro’s voice, Almaviva steps away as thebarber bounds in, boasting of his busy life as the neighborhood factotum.

Figaro, though currently in Bartolo’s employ, encounters Almaviva and promises to help him win Rosina: for a suitable reward. No sooner has Bartolo left the house to arrange his own marriage with Rosina then Almaviva launches into a second serenade, calling himself «Lindoro», a poor creature who can offer only love. Figaro suggests Almaviva disguise himself as a drunken soldier billeted to Bartolo’s house. Almaviva is delighted by the love he will conquer, Figaro by the money he will get.barber1

Alone in the house, Rosina muses on the voice that has touched her heart and resolves to outwit Bartolo. Figaro joins her, but they leave on hearing footsteps. Bartolo enters complaining about Figaro, upsetting the house. Then the music master Don Basilio enters and tells him that Almaviva is a rival for Rosina’s hand and advises slandering the nobleman’s reputation. Bartolo agrees, but Figaro overhears them. Warning Rosina that Bartolo plans to marry her himself the very next day, the barber promises to deliver a note she has written to «Lindoro».barber3

Rosina, alone with Bartolo, undergoes an interrogation, thenlistens to his boast that he is far too clever to be tricked. Berta, the housekeeper, answers violent knocking at the door, returning withAlmaviva disguised as a drunken soldier in search of lodging. While arguing with Bartolo, Almaviva manages to slip a love letter to Rosina. But when Bartolo demands to see the letter, the girl substitutes a laundry list. Figaro dashes in to warn that their hubbub has attracteda crowd. Police arrive to silence the disturbance. As an officer is aboutto arrest him, Almaviva whispers his identity and is released. Rosina, Berta, Bartolo and Basilio are stupefied by everything that is happening. But Almaviva assaults Bartolo and the police officers sends the mall to the madhouse for examination.barber2

Act 2

Bartolo receives a young music teacher, «Don Alonso» (again Almavivain disguise), who claims to be a substitute for the ailing Basilio. Rosina enters, recognizes her suitor and begins her singing lessonas Bartolo dozes in his chair. Figaro arrives to shave the doctor andmanages to steal the key to the balcony window. Basilio now comesin, looking the picture of health; bribed by Almaviva, he feigns illnessand departs. Figaro shaves Bartolo while Almaviva and Rosina plan their elopement that night. They are overheard by the doctor, who drives Figaro and Almaviva from the house and Rosina to her room, then sends again for Basilio. Berta, unnerved by all the confusion, complains she is going mad. Bartolo then tricks Rosina into believing «Lindoro» is really a flunky of Almaviva.barber4

Rosina weeps about hear broken dream. After a thunderstorm, Almaviva arrives with Figaro and climbs through a balcony windowto abduct Rosina. At first the girl rebuffs «Lindoro», but when heexplains that he and Almaviva are one and the same, she falls intohis arms. Figaro urges haste, but before they can leave, their ladder is taken away. Basilio enters with the notary. Though summoned to wed Rosina and Bartolo, the official marries her instead to Almaviva, who bribes Basilio. Rushing in too late, Bartolo finds the lovers already wed.The old man accepts the situation, when he realizes he was fooled and Figaro tells the moral of the tale: Every attempt to stop love is a useless precaution.

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Anna Bolena at the Lyric Opera of Chicago

bolena

lyricDecember 6, 2014-January 16, 2015

New Production
by Gaetano Donizetti
In Italian with projected English texts
Approximate running time: 3hrs, 18 min

Doomed queen…tour-de-force drama!

Anne Boleyn may be Queen of England, but she doesn’t stand a chance. Henry VIII wants her gone — with Jane Seymour taking her place on the throne and in his bed. And Henry’s minions do the dirty work, finding “proof” of Anne’s infidelities.

Donizetti exploits all of the glories of the human voice in this bel canto gem and trailblazes with a theatricality that hadn’t been seen in opera before. Listen to vocal fireworks and watch one of opera’s most gripping confrontations: the Queen rages when she finally discovers that Jane is her arch rival, and Jane is haunted by guilt — desperate to marry the King, yet knowing that she’s the reason he’ll send Anne to the scaffold.

Maria Callas and Joan Sutherland made this opera famous—and today Sondra Radvanovsky makes it her own.

Lyric Opera coproduction generously made possible by The Monument Trust (UK) and the Donna Van Eekeren Foundation.

Coproduction of Lyric Opera of Chicago and Minnesota Operabolena1

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CAST

Radvanovsky_Bolena270Anne Boleyn Sondra Radvanovsky

“Dazzling Sondra Radvanovsky tears into the taxing role of the Queen…sending an electric current through the music and effectively conveying Anne’s pride and vulnerability.” Baltimore Sun – See more at:

 

Barton_Bolena270(2)Jane Seymour Jamie Barton

Dmitri Hvorostovsky won the hugely prestigious BBC Cardiff Singer of the World competition…and so did Jamie Barton. “With her plush, impassioned voice, she’s on opera’s fast track!” Chicago Tribune

 

Relyea_Bolena270Henry VIII John Relyea

King Henry must be menacing, manipulative, and suave. John Relyea’s “magnificent black velvet cloak of a voice wraps itself around everything in sight.” The Times, London

 

Hymel_Bolena270Percy Bryan Hymel

This dashing young tenor takes on the role of Percy in his Lyric debut! “Bryan Hymel has the best high notes in the business.” Philadelphia Inquirer

 

Kelley-OConnor-270x190Smeton Kelley O’Connor

Kelley O’Connor has “dark, lustrous vocal tone and an arresting command of melodic phrase. Her moments in the spotlight left a listener wanting more.” San Francisco Chronicle

 

synopsisBolena

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The Dialogues of the Carmelites in Stockolm

logooperanThe Dialogues of the Carmelites

Monday, December 15 19:00

Freedom, equality, sisterhood!

dialogue

The opera is based on actual events during the French Revolution when the sixteen nuns in a convent was sentenced to death because they continued to practice their religion despite the current ban. Spirituality and materialism are here set against one another – and everyone must suddenly choose a side. Director Johanna Garpe takes on Francis Poulenc’s opera from 1957 and challenges the watchwords of liberty, equality head on. How is our standing in Europe today in relation to these words? Where do we stand in relation to the words in Europe today? Am I prepared to defend everyone’s right to freedom if I do not actually support those in question? Or even think about them?

Karmelitsystrarna_fst2

Music Francis Poulenc
Text Georges Bernanos / Emmet Lavery
Conductor Thomas Søndergård
Director Johanna Garpe
Set Design Per A Jonsson
costumes and masks Nina Sandström
Lighting Thorsten Dahn
Dramaturg Katarina Aronsson
Choreographer Hakan MayerKarmelitsystrarna_fst3

CAST
Marquis de la Force Fredrik Zetterström

Blanche de la Force Elin Rombo

Chevalier de la Force Jonas Degerfeldt

Mme de Crossy, old prioress Marianne Eklöf

Mme Lidoine, new prioress Lena Nordin

Mother Marie Susann Végh

Sister Constance Marianne Hellgren Staykov

Susanna SternMother Jeanne Agneta Lundgren

Karmelitsystrarna_fst5

Confessor Klas Hedlund

The jailer John Erik Eleby

The officer Kristian FlorFirst

Commissioner Magnus Kyhle Andre

Commissioner Lennart Forsé Thierry

butler Jan Sörberg Javelinot

doctors Mikael Magnell Johan Lilja

A servant Madeleine Barringer

Conductor Thomas Søndergård

The Royal Opera Chorus
Royal Opera OrchestraKarmelitsystrarna_fst4

Press Quotes

“Made with great feeling in every moment and get the music to shimmer” DN

“Brilliant vocal efforts” SvD

“Garpes personal trainer is phenomenal” SR Kulturnytt

Karmelitsystrarna_fst6

Royal Opera
PO Box 160 94
103 22 STOCKHOLM

Karmelitsystrarna_fst7

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Il barbiere di Siviglia in Slovakia

logo-sndGioacchino Rossini

Il barbiere di Siviglia

Comic opera in two acts in the Italian language

Author of photos: Anton Sládek, 2013

barbiere1

Thursday 18. December 2014 – 19:00

Thursday 5. March 2015 – 19:00
Friday 27. March 2015 – 19:00
Thursday 16. April 2015 – 19:00
Wednesday 6. May 2015 – 19:00

Premières: 8 and 9 February 2013 Historical Building

barbiere2

Conductors: Rastislav Štúr
Directed by: Roman Polák
Set : Pavel Borák
Costumes : Peter Čanecký
Choreography : Stanislava Vlčeková
Chorusmaster: Pavol Procházka

barbiere3

Almaviva: Juraj Hollý
Bartolo: Jozef Benci
Rosina: Štěpánka Pučálková
Figaro: Pavol Remenár
Basilio: Peter Mikuláš
Berta: Katarína Flórová
Fiorello: František Ďuriač
Captain: Ivan Ožvát
Ambrogio: Roman Krško
Inspizient: Ivan Martinka
Souffleuse: Lucia Korená

Gioachino Rossini as a well-known gourmand used to exaggerate a bit when claiming: “The mouth is a much more sensitive organ that the ear.” He exaggerated as usual and he laughed. In spite of his mastery as a cook, and we would not allow us to hesitate about it, our opera stage is interested first of all in his composition mastery. The composer has been ‘mixing’ Italian bel canto with his extraordinary invention and the special sense of humour in his own original way.

Running time: 2 hrs 45 mins one interval

barbiere5

Synopsis

Place: Seville, SpainTime: 18th century

Act 1

The square in front of Bartolo’s house

In a public square outside Bartolo’s house a band of musicians and a poor student named Lindoro are serenading, to no avail, the window of Rosina (“Ecco, ridente in cielo”; “There, laughing in the sky”). Lindoro, who is really the young Count Almaviva in disguise, hopes to make the beautiful Rosina love him for himself—not his money. Almaviva pays off the musicians who then depart, leaving him to brood alone. Rosina is the young ward of the grumpy, elderly Bartolo and she is allowed very little freedom because Bartolo plans to marry her, and her not inconsiderable dowry, himself – once she is of age.

Figaro approaches singing (Aria: “Largo al factotum della città”; “Make way for the factotum of the city”). Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he be successful in arranging this. (Duet: “All’idea di quel metallo”; “At the idea of that metal”). Figaro advises the Count to disguise himself as a drunken soldier, ordered to be billeted with Bartolo, so as to gain entrance to the house. For this suggestion, Figaro is richly rewarded. barbiere7

A room in Bartolo’s house with four doors

The scene begins with Rosina’s cavatina, “Una voce poco fa” (“A voice a little while ago”).
Knowing the Count only as Lindoro, Rosina writes to him. As she is leaving the room, Bartolo and Basilio enter. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumours about him (this aria, “La calunnia è un venticello” – “Calumny is a little breeze” – is almost always sung a tone lower than the original D major).

When the two have gone, Rosina and Figaro enter. The latter asks Rosina to write a few encouraging words to Lindoro, which she has actually already written. (Duet: “Dunque io son…tu non m’inganni?”; “Then I’m the one…you’re not fooling me?”). Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious. (Aria: “A un dottor della mia sorte”; “To a doctor of my class”).

As Berta, the Bartolo housekeeper, attempts to leave the house, she is met by the Count disguised as an intoxicated soldier. In fear of the drunken man, she rushes to Bartolo for protection and he tries to remove the supposed soldier, but does not succeed. The Count manages to have a quick word with Rosina, whispering that he is Lindoro and passing her a letter. The watching Bartolo is suspicious and demands to know what is in the piece of paper in Rosina’s hands, but she fools him by handing over her laundry list. Bartolo and the Count start arguing and, when Basilio, Figaro and Berta appear, the noise attracts the attention of the Officer of the Watch and his men. Bartolo believes that the Count has been arrested, but Almaviva only has to whisper his name to the officer and is released right away. Bartolo and Basilio are astounded, and Rosina makes sport of them. (Finale: “Fredda ed immobile, come una statua”; “Cold and still, just like a statue”).

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Act 2

A room in Bartolo’s house with a piano

Almaviva again appears at the doctor’s house, this time disguised as a singing tutor and pretending to act as substitute for the supposedly ailing Basilio, Rosina’s regular singing teacher. Initially, Bartolo is suspicious, but does allow Almaviva to enter when the Count gives him Rosina’s letter. He describes his plan to discredit Lindoro whom he believes to be one of the Count’s servants, intent on pursuing women for his master. Figaro arrives to shave Bartolo. Bartolo demurs, but Figaro makes such a scene he agrees, but in order not to leave the supposed music master alone with Rosina, the doctor has Figaro shave him right there in the music room. When Basilio suddenly appears, he is bribed by a full purse from Almaviva and persuaded to leave again, with much discussion of how ill he looks. (Quintet: “Don Basilio! – Cosa veggo!”; “Don Basilio! – What do I see?”). Figaro begins to shave Bartolo, but Bartolo overhears the lovers conspiring. He drives everybody away.barbiere9

The scene returns to the location of act 1 with a grill looking out onto the square. Bartolo orders Basilio to have the notary ready to marry him to Rosina that evening. He also explains his plot to come between the lovers. Basilio leaves and Rosina arrives. Bartolo shows Rosina the letter she wrote to “Lindoro”, and persuades her that this is evidence that Lindoro is merely a flunky of Almaviva. Rosina believes him and agrees to marry him.barbiere10

The stage remains empty while the music creates a thunder storm to indicate the passage of time. The Count and Figaro climb up a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and expresses her feelings of betrayal and heartbreak. Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door, and attempting to leave by way of the ladder, they realize it has been removed. The two are Basilio and the notary and Basilio is given the choice of accepting a bribe and being a witness or receiving two bullets in the head (an easy choice, he says). He and Figaro witness the signatures to a marriage contract between the Count and Rosina. Bartolo barges in, but is too late. The befuddled Bartolo (who was the one who had removed the ladder) is pacified by being allowed to retain Rosina’s dowry.

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Wagner’s Lohengrin in Poland

polandlogoFri   6:00pm December 19, 2014
Moniuszko Auditorium

LOHENGRIN

RICHARD WAGNER

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RTEmagicC_Lohengrin-small_jpgRomantic opera in three acts
Libretto: composer
In the original German
World premiere: Weimar, Großherzogliches Hoftheater, 28/08/1850
Polish premiere: Lviv Opera, 21/04/1877
Warsaw premiere: Teatr Wielki, 19/07/1879
Premiere: 11/04/2014

Duration: ca. 4 hrs 20 min. (including 2 intermissions)

Conductor: Stefan Soltesz
Director, Set and Costume Designer: Antony McDonald
Associate Director: Helen Cooper
Choreography: Lizie Saunderson, Philippe Giraudeau
Chorus Master: Bogdan Gola
Lighting Director: Lucy Carter
Associate Lighting Designer: Neill Brinkworth

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Cast:

Heinrich der Vogler: Bjarni Thor Kristinsson
Lohengrin: Peter Wedd
Elsa von Brabant: Mary Mills
Herzog Gottfried: wordless role
Friedrich of Telramund: Thomas Hall
Ortrud: Anna Lubańska
The King’s Herald: Dariusz Machej
Four Noblemen of Brabant: Mateusz Zajdel, Łukasz Rosiak, Damian Wilma, Robert Dymowski
Four Pages: Bożena Bujnicka, Joanna Dubiela, Marta Motkowicz, Wanda Franek

Chorus and Orchestra of Teatr Wielki – Polish National Orchestra

Co-production: Welsh National Opera, Cardiff

Poster for the production designed by Adam Żebrowski
Photo: Krzysztof Bieliński

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Lohengrin was first staged in 1850, the same year that Wagner published his notorious article Judaism in Music. The masterpiece being in such unfortunate proximity to a piece of hack writing by a declared anti-Semite has made people wary of this romantic opera. Take the famous scene from The Great Dictator in which Chaplin, made up to resemble Hitler, bounces an inflatable globe around his office with the wonderful prelude to Act 1 of Wagner’s piece playing in the background… Lohengrin directed by Antony McDonald brings no spectacular surprises; the only – moderate – extravagance is that the setting has been moved from the Middle Ages to Victorian England, but it will still beguile you with its subtle images and the characters’ truly Shakespearian complexity. Nobody here is only black or only white – the English director has scrapped all cardboard characters. McDonald’s production is made for those who are starting to discover the world of Wagnerian phantasms as well as those who know it inside out but are looking for new refreshing meanings.

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Synopsis

Place: Antwerp, on the Scheldt.

Time: 10th century

Act 1

King Henry the Fowler has arrived in Brabant where he has assembled the German tribes in order to expel the marauding Hungarians from his dominions. He also needs to settle a dispute involving the disappearance of the child-Duke Gottfried of Brabant. The Duke’s guardian, Count Friedrich von Telramund, has accused the Duke’s sister, Elsa, of murdering her brother in order to become the Duchess of Brabant. He calls upon the King to punish Elsa and to make him, Telramund, the new Duke of Brabant, since he is the next of kin to the late Duke.

The King calls for Elsa to answer Telramund’s accusation. She enters, surrounded by her attendants. She does not answer to the King’s inquiries, only lamenting her brother’s fate. The King declares that he cannot resolve the matter and defers it to God’s judgment through ordeal by combat. Telramund, a strong and seasoned warrior, agrees enthusiastically. When the King asks Elsa who shall be her champion, Elsa describes a knight she has beheld in her dreams (Narrative: “Alone in dark days”).

Twice the Herald sounds the horn in summons, without response. Elsa sinks to her knees and prays to God. A boat drawn by a swan appears on the river and in it stands a knight in shining armour. He disembarks, dismisses the swan, respectfully greets the king, and asks Elsa if she will have him as her champion. Elsa kneels in front of him and places her honour in his keeping. He asks but one thing in return for his service: she is never to ask him his name or where he has come from. Elsa agrees to this.

Telramund’s people advise him to withdraw because he cannot prevail against the Knight’s powers, but he proudly refuses and the combat area is prepared. The company prays to God (“Herr und Gott”) for victory for the one whose cause is just. Ortrud does not join the prayer, but privately expresses confidence that Telramund will win. The combat commences. The unknown knight defeats Telramund but spares his life. Taking Elsa by the hand, he declares her innocent and asks for her hand in marriage. The crowd exits, cheering and celebrating.lohengrin5

Act 2

Night in the courtyard outside the cathedral

Telramund and Ortrud, banished, listen unhappily to the distant party-music. Ortrud reveals that she is a pagan witch (daughter of Radbod Duke of Frisia), and tries to revive Telramund’s courage, assuring him that her people (and he) are destined to rule the kingdom again. She plots to induce Elsa to violate the mysterious knight’s only condition.

When Elsa appears on the balcony in the twilight before dawn she hears Ortrud lamenting and pities her. While Elsa descends to open the castle door, Ortrud prays to her pagan gods, Wodan and Freia, for malice, guile, and cunning, in order to deceive Elsa and restore pagan rule to the region. When Elsa appears, Ortrud warns her that since she knows nothing about her rescuer, he could leave her any time, as suddenly as he came, but Elsa is sure of the virtues of her rescuer.

The sun rises and the people assemble. The Herald announces that Telramund is now outlawed, and that anyone who follows Telramund is an outlaw by the law of the land. In addition, he announces that the King has offered to make the unnamed knight the Duke of Brabant; however, the Knight has declined the title, and prefers to be known only as “Protector of Brabant”. The Herald further announces that the Knight will lead the people to glorious new conquests, and will celebrate the marriage of him and Elsa. Behind the crowd, four noblemen quietly express misgivings to each other because the Protector of Brabant has rescinded their privileges and is calling them to arms. Telramund appears, and, concealing himself from the crowd, draws these four knights aside and assures them that he will regain his position and stop the Knight, by accusing him of sorcery.

As Elsa and her attendants are about to enter the church, Ortrud, as part of her retinue, challenges Elsa to tell who her husband is, and to explain why anyone should follow him. The ensuing exchange is interrupted by the entrance of the King with the Knight. Elsa tells both of them that Ortrud was interrupting the ceremony. The Knight tells Ortrud to go back into the crowd, then takes Elsa to the wedding. The King leads at the front of the couple. When they are about to go inside the church (once more), Telramund enters. He pleads to the king that his defeat in combat was invalid because the Knight did not give his name (trial by combat traditionally being open only to established citizens), then accuses the Knight of sorcery. The Knight refuses to reveal his identity and claims that only one person in the world has the right to know his origin – his beloved Elsa and no other person. Elsa, though visibly shaken and uncertain, assures him of her confidence. King Henry refuses Telramund’s questioning of the Knight, and the nobles of Brabant and Saxony praise and give respect to the Knight. Elsa, not seeing her beloved, falls back to the crowd where Ortrud and Telramund take her and try to intimidate her, but the Knight forces both to leave the ceremony. The Knight consoles Elsa. Finally, the King, the Knight and Elsa, together with the men and women around, go forward. Elsa takes one last look at the banished Ortrud, then they enter the church.

Act 3

Scene 1: The bridal chamber

Elsa and her new husband are ushered in with the well-known bridal chorus, and the couple express their love for each other. Ortrud’s words, however, are impressed upon Elsa, she laments that her name sounds so sweet in her husband’s lips but she cannot utter his name, afterwards she asks him to confide on her his name to keep it secret, when no one is around, but at all instances he refuses, finally, despite his warnings, she asks her husband the fatal questions. Before the Knight can answer, Telramund and his four recruits rush into the room in order to attack him. The knight defeats and kills Telramund. Then, he sorrowfully turns to Elsa and asks her to follow him to the king, to whom he will now reveal his mystery.

Scene 2: On the banks of the Scheldt (as in Act 1)

The troops arrive equipped for war. Telramund’s corpse is brought in, Elsa comes forward, then the Knight. He tells the King that Elsa has broken her promise and he discloses his identity by telling the story of the Holy Grail, on Monsalvat, and reveals himself as Lohengrin, Knight of the Holy Grail and son of King Parsifal sent to protect an unjustly accused woman. The rules of the Holy Grail determine that Knights of the Grail must remain anonymous, retiring from all human sight if their identity is revealed; so the time for his return has come.

As he sadly bids farewell to his beloved bride, the swan reappears. Lohengrin tells Elsa that if she had maintained her oath, she could have recovered her lost brother, and gives her his sword, horn and ring, for he is to become the future leader of Brabant. Then, when Lohengrin tries to get in the boat, Ortrud appears. She tells Elsa that the swan who drove Lohengrin to the bank was actually Gottfried, Elsa’s brother, on whom she put a curse by transforming him into a swan. The people consider Ortrud guilty of witchcraft. Lohengrin prays and the swan turns into another form, a young Gottfried. He elects him as the Duke of Brabant. Ortrud sinks as she sees Gottfried and her plans thwarted.

A dove descends from heaven and, taking the place of the swan at the head of the boat, leads Lohengrin to the castle of the Holy Grail. Elsa is stricken with grief and falls to the ground dead

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La Traviata at the Bolshoi

Bolschoi

La Traviata

Opera in two acts

Premiered on October 7, 2012.

Sung in Italian with Russian surtitles.

Running time: 2 hours 40 minutes.
Presented with one interval.

Libretto by Francesco Maria Piave based on the novel La dame aux Camélias by Alexandre Dumas, fils

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Music Director: Laurent Campellone
Stage Director: Francesca Zambello
Associated Director: Julia Pevzner
Set Designer: Peter John Davison
Costume Designer: Tanya McCallin
Lighting Designer: Mark McCullough
Chorus Master: Valery Borisov
Choreographer: Ekaterina Mironova

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Conductor Pavel Klinichev
Violetta Valéry Dinara Alieva

Venera Gimadieva

Flora Bervoix Elena Novak

Irina Dolzhenko

Annina Oxana Gorchakovskaya

Irina Udalova

Alfredo Germont Oleg Dolgov

Aquiles Machado

Giorgio Germont, Alfredo’s father Vasily Ladyuk

Igor Golovatenko

Gastone, viscomte De Letorières Sergei Radchenko

Marat Gali

Baron Douphol Alexei Pashiev

Vadim Lynkovsky

Marquis D’obigny Nikolai Kazansky
Doctor Grenvil Oleg Tsybulko

Daniil Chesnokov

Giuseppe, Violetta’s servant Vadim Tikhonov

Yuri Markelov

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Synopsis

Part One
Alfredo Germont arrives at a party at the home of Violetta Valéry, a renowned courtesan. She is surprised to learn of his devotion to her, and of his concern during her recent illness. Alfredo leads a toast to love; Violetta responds with a toast to pleasure and excitement. Feeling faint, she excuses herself to rest. Alfredo follows and begs her to allow him to love and care for her. She tells him she is not interested in such heroic commitment, but invites him to return the next day. Alone, she wonders if she is capable of experiencing love. Dismissing the idea as nonsense, she determines to live for freedom and pleasure alone. traviata3

Violetta flees her extravagant life in Paris to be with Alfredo. After learning that she plans to sell her belongings to maintain their country retreat, Alfredo goes to Paris to pay their debts. While he is away, Giorgio Germont visits Violetta. He tells her that Alfredo, his son, intends to give her all his possessions. She tells the elder Germont that she would never accept and reveals that she is making sacrifices to maintain their life together. Although impressed by her nobility, Germont begs her to leave his son, as her association with the family will ruin his daughter’s future prospects. Violetta finally agrees, asking only that, after her death, Germont tell his daughter the truth. Later, when Alfredo receives a letter from Violetta, claiming she no longer loves him, he is devastated. traviata4

Part Two
Violetta attends a party with her new protector, Baron Douphol. The men gamble, and Alfredo is the winner. Violetta pulls Alfredo aside and begs him to leave; he refuses and threatens to duel with the Baron. Unable to break her promise to the elder Germont, Violetta insists that she loves the Baron. Furious and hurt, Alfredo calls the guests together and publicly insults Violetta. traviata5

Now on her deathbed and tended by Annina, Violetta re-reads a letter from Giorgio Germont. According to the letter, Alfredo went abroad after dueling with the Baron; his father wrote to him there, explaining Violetta’s sacrifice. Alfredo arrives, asking forgiveness and pledging eternal love. Violetta expresses hope for their future together, but she is very weak. Alfredo sends Annina for the Doctor. He arrives with Giorgio Germont, who reproaches himself for his earlier behavior toward Violetta. He asks forgiveness and pledges to accept her as a daughter, but he is too late.

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The story of Violetta, told by herself…

The project has been brought to life by the international team, a world renowned Francesca Zambello is the director. It is already the third production for her at the Bolshoi Theater. (In 2002 she staged Turandot by G. Puccini, and in 2004 — for the first time at the Bolshoi — The Fiery Angel by S. Prokofiev).traviata7

Francesca Zambello:

“La Traviata — surely is one of the greatest operas ever written, and one of the most important works from the so-called” middle period “in the works of Verdi. For the first time ever the composer based his opera on a modern, popular, book which shocked the society, and not a myth, or, say, a play by Shakespeare. It was a real revolution, a real shock to the public: the opera, which tells about real people, living in the present, with real problems, the opera telling the story about love between an experienced woman and a very young man who, in addition, came from different social strata, about an incurable disease. And, please, note that La Traviata does not belong to those works where love overcomes all obstacles.traviata8

Today we no longer think about it. La Traviata is not perceived by us as a revolutionary product, but it seems to me that even now it is still very important to find in the characters that force and ‘intensity’ of emotions that shocked people.

For me and for all the staging team it is a huge honor to work on La Traviata at the Bolshoi Theatre. This opera has not been on a stage for rather a long time. And for us it is a chance to tell a story which seems to be well-known to everybody, but which nobody really knows. In this performance we will at the story via the perception of Violetta herself — a mysterious and beautiful woman, whom everyone loved and idealized, but — no one knew”.

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AIDA in Moldova

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Original name: Aida
Libretto: Antonio Ghislanzoni
After the original drafts by Camille Du Locle and Mariette Bey

Stage Director: Mihai Timofti Maestru in Artă
Set designer: Felix Bessonov Om Emerit
Costume designer: Nina Babuţac
Choreography: Mihail Caftanat Artist al Poporului
Music Director: Nicolae Dohotaru Maestru în Artă
Chief Choirmaster: Ion Bratescu

World premiere: 24 December 1871, at the Opera Theatre from Cairo
Premiere in Chisinau: 18 March, 1966, At Moldavian State Theatre of Opera and Ballet „A.S.Pushkin”
The premiere of the last version: 25 june 2005, at the National Theatre of Opera and Ballet.

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The protagonists

Aida, Radames, Amneris, Ramfis, Amonasro, The king of Egypt, Priestess, Messenger, Conductor

„In theatre exists some moments when the poet and the composer, must have suficiently tact for writing somthing else than lyrics and music”.

Giuseppe Verdi
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History of the creation

„In1868, the Egyptian government proposed Verdi to write an opera for opening party of a new theatre in Cairo. The composer rejected the unexpected order. In 1870, the negotiations was resumed with help of french librettist Camille du Locle that send Verdi scenario of Aida. Verdi was passionate with this subject based on an old egyptian legend,so he consent to write the opera and after that he began to draw the detailed plan of Aida toghether with du Locle being charged with writing prose libretto in french language.Antonio Ghislanzoni based on that libretto wrote lyrics in italian language.On the one hand the principal meaning of Aida’s dramaturgy consists of tragic conflict between aspiration to freedom, happiness and on the other hand nefarious force of oppression, violence. This is one from the principal topics that pass through the entire creation of Verdi”

SYNOPSIS The action takes place in Memphis and Teba in time of pharaoh’s reign.

ACT ONE

A room in the Royal Palace in Memphis.

aida2Radames, the Captain of the Guards, learns from Ramfis, the head of the High Priests, that the Ethiopians are threatening war and that the Goddess Isis has already decided on the name of the Egyptian supreme commander who will lead the Egyptian army in confronting the enemy. Radames is overjoyed at the news and hopes he will be chosen. He imagines a glorious victory where he is able to return triumphantly to free his beloved Aida, slave of Amneris, the Egyptian King’s daughter. Amneris appears and he tells her of his hopes, with no mention of his feelings for Aida, although Amneris has her suspicions. Shortly after, Aida herself approaches and Amneris sees in her eyes the love she bears for Radames. She swears vengeance because she too is in love with the young captain of the guards. In the meantime the King enters preceded by his guards and followed by priests led by Ramfis. A messenger enters bearing the news that the Ethiopians have invaded Egypt and are marching against Thebes, led by the mighty warrior Amonasro. The King announces that Isis has appointed Radames supreme commander. The crowd cries out in homage to him, while Amneris punctuates the choral song with a languorous appeal for her warrior to return in victory. Only Aida is sad since the victory of Radames, whom she loves, must mean the defeat of her father, the King of Ethiopia, who has taken up arms to free her from slavery. In this moment of distress, she calls upon the gods to have pity on her.

Inside the temple of Vulcan in Memphis.

aida3The priests and priestesses sing a hymn to the gods. Radames enters dressed for battle, receives the sacred sword and is consecrated to Ftha to protect him in war and to direct him towards victory.

ACT TWO

A room in Amneris’ private apartments.

aida4The King’s daughter is surrounded by her slaves who are dressing her for the triumphal Egypitan festivities, while young Moorish slaves perform a dance. When Aida appears, Amneris hides her true feelings and sympathizes with her for the fate of her people, defeated in the battle. Then, to discover whether Aida is, in fact, in love with Radames, she tells her that he has been killed in the battle. Aida is stricken with grief; Amneris confirms her suspicions and filled with rage, reveals the truth. Radames is alive and she, Amneris, loves him too. At first Aida proudly declares her love, but then begs in vain for pity. Amneris threatens her, reminding her that she is only a slave and cannot hope to compete with a daughter of the Pharaohs. At this point, Aida is about to reveal her royal identity but decides against it.aida5

At the city walls in Thebes

The population celebrates the victory, whiles the King and Amneris, together with Aida and other slaves, the ministers and priests, are waiting Radames to celebrate his triumph. A column of soldiers and prisoners arrives, with Radames at its head. The King welcomes him and asks him what he would like as a reward. Radames has the prisoners brought before the King. Among them Aida recognizes her father Amonasro and succeeds in speaking to him briefly. He commands her not to betray him, and, without revealing his true identity, both Aida and her father beg for his mercy. Radames also pleads that all the prisoners be freed, but the high priest objects and proposes that at least Aida and her father be held in Egypt, as a guarantee of peace. The king approves this suggestion and announces that he intends to reward Radames by bestowing the hand of Amneris upon him. While the crowd cheers, Radames and Aida secretly express their sorrow.aida6

ACT THREE

Night on the banks of the Nile.

At the temple of Isis Ramfis leads Amneris to the temple to receive the goddess’ blessing on the eve of her wedding. Concealed nearby, Aida awaits Radames for their secret encounter, but while she is waiting Amonasro appears. He has discovered the emotions Aida and Radames feel for each other. He reminds Aida of the beauties of her native land, and the cruelty of their enemies and urges her to persuade Radames to reveal the route the Egyptian forces will use to invade Ethiopia. Aida is horrified at his suggestion. Then Radames approaches and Amonasro conceals himself. Aida proposes to Radames that they flee from Egypt, following some secret route unguarded by the Egyptian forces. Radames agrees and then Aida questions him on the route his army will take into Ethiopia. Radames mentions the gorges of Napata and at that moment Amonasro reappears and reveals his true identity. Radames is horror-stricken; for he realizes that he has revealed a military secret and is dishonoured. At this point Amneris arrives from the temple and cries out at the betrayal. Amonasro seeks to kill her but Radames prevents him, and surrendering his sword to Ramfis, allows him to be taken prisoner. Amonasro escapes with Aida.aida7 aida8

ACT FOUR

A room in the King’s Palace.

Amneris is torn between rage, sorrow and love. She wants to save Radames and has him brought before her. She asks him to plead not guilty before the High Priests to his conviction of being a traitor. In this way she can help him. He refuses. To convince him, Amneris has him believe that Aida is dead along with her father Amonasro. This does not dissuade him as now life holds nothing more for him. Finally, Amneris reveals that Aida is, in fact, still alive. This revelation precipitates rejoicing by Radames that he can now die to protect his beloved. However, Amneris declares that she will implore the King to pardon him if only he will renounce his love for Aida. He repeatedly refuses. He is consequently taken back to the dungeon and sentenced to be buried alive under the altar in the temple of Vulcan. Amneris bitterly deplores the cruelty of the priests and their punishment.

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In the Temple of Vulcan in Radames’ tomb.

Radames is ready to die and prays that Aida will be able to find happiness one day: but Aida is concealed in the chamber and comes forward to embrace him. Radames laments Aida’s harsh fate, and vainly tries to dislodge the stone that seals the tomb. But Aida consoles him with the certainty that the ”angel of death” will unite them forever and appears to be already speeding to a celestial haven. While the two lovers bid farewell to the Earth, Amneris clothed in mourning robes, prostrates herself on the stone covering the entrance to the vault and beseeches the gods to grant peace to the man buried below.

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