VERDI’S 200th ANNIVERSARY CELEBRATION: Aida in Kiev, Ukraine

logoukraineopera

Ukranian National Opera Presents:

Giuseppe Verdi’s

aidaukraine1Aida

Opera in 4 acts

Saturday, October 12, 2013

Beginning 19:00      Ending  22:05

Address of the theatre:
Kyiv, 01034, Volodymyrska st., 50
Ukraine
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Madama Butterfly in Kiev at the Ukranian National Opera

logoukraineoperaUKRAINE NATIONAL OPERA PRESENTS:

Giacomo Puccini’s

Madama Butterfly (Сіо-Cio-San)

Tragedy in 3 acts

Tuesday, October 8, 2013

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Ukranian National Opera Presents “Il Barbiere di Siviglia”

logoukraineoperaUkranian National Opera  Presents:

G. Rossini’s

Il Barbiere di Siviglia

Opera in 2 acts

Saturday, October 5, 2013

Starting time: 19:00
Ending time: 21:35

Address of the theatre:
Kyiv, 01034, Volodymyrska st., 50
Ukraine

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Orpheus and Eurydice at the Oslo Opera House

 

Orfeus%20og%20Evrydike_Foto_Erik_BergThe Norwegian National Opera & Ballet presents

Orpheus and Eurydice

at the Oslo Opera House

logonorwayChristoph Willibald Gluck has gone down in music history as one of opera’s great reformers. Gluck felt that music theatre in his day had become too distant from its original concept. Superficial effects and circus-like entertainment were in the way of the interplay between text and music. He wished to return opera to its original ideals. His first opera in this new style was Orpheus and Eurydice.

The myth of Orpheus, who journeys to the underworld to save his beloved Eurydice, is about love and the transcending power of the music. Gluck illustrates Orpheus’ journey and his encounter with angry Furies and Blessed Spirits, with music that is free of effects yet which arouses strong feelings. It is pure and balanced, with dark and light, simpleness and pathos in perfect equilibrium.

This is the first time in a long time that we are able to present a coproduction between the Norwegian National Opera and the Norwegian National Ballet. House choreographer Jo Strømgren has directed, choreographed and done the scenography, and contra-tenor Lawrence Zazzo sings the role of Orpheus. Audiences can also look forward to hearing once again conductor Rinaldo Alessandrini.

  • 9 productions / From October 17. to November 5.
  • Premier October 17. 2013 / Main House

Main roles

  • Orfeus

    Lawrence Zazzo
    Playing the following days
    • 10/17/2013
    • 10/19/2013
    • 10/22/2013
    • 10/24/2013
    • 10/26/2013
    • 10/29/2013
    • 10/31/2013
    • 11/3/2013
    • 11/5/2013
  • Evrydike

    Eli Kristin Hanssveen
    Playing the following days
    • 10/17/2013
    • 10/22/2013
    • 10/24/2013
    • 10/29/2013
    • 10/31/2013
    • 11/3/2013
    • 11/5/2013
    Nina Gravrok
    Playing the following days
    • 10/19/2013
    • 10/26/2013
  • Amor

    Kari Ulfsnes Kleiven
    Playing the following days
    • 10/17/2013
    • 10/22/2013
    • 10/24/2013
    • 10/29/2013
    • 10/31/2013
    • 11/3/2013
    • 11/5/2013
    Amelie Aldenheim
    Playing the following days
    • 10/19/2013
    • 10/26/2013

    Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 orpheusNorway6 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 orpheusNorway13

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VERDI’S 200th ANNIVERSARY CELEBRATION: “RIGOLETTO” premieres in Slovenia

rigoletto-front-net

logoThe Opera Balet Ljubljana Presents: Giuseppe Verdi’s

RIGOLETTO

An Opera in Three Acts

 Premiere: 26 September 2013

3 October 2013 19:30 SNG Opera in balet Ljubljana
15 November 2013 19:30 SNG Opera in balet Ljubljana
27 November 2013 19:30 SNG Opera in balet Ljubljana
29 November 2013 18:00 SNG Opera in balet Ljubljana
14 December 2013 19:30 SNG Opera in balet Ljubljana
16 December 2013 19:30 SNG Opera in balet Ljubljana
16 January 2014 19:30 SNG Opera in balet Ljubljana
18 January 2014 19:30 SNG Opera in balet Ljubljana
28 February 2014 19:30 SNG Opera in balet Ljubljana
29 March 2014 19:30 SNG Opera in balet Ljubljana

rigoletto6In March 1850, the Venetian La Fenice commissioned Verdi to compose an opera seria that would be performed during the Carnival, in 1851. The composer gladly accepted the commission, since the two of his operas – Ernani and Atilla – were already successfully premiered at this renowned theatre. He occupied himself with the choice of topic for quite some time and finally opted for Hugo’s Le roi s’amuse, as he found it one of the greatest plays of its time and the creation, worthy of Shakespeare himself. He was particularly allured by Hugo’s dramaturgy with sharp, romantic contrasts, turbulent conflicts of passion, zealous love of freedom as well as exciting and dynamic development of action. Although the theatre’s direction accepted the suggested theme, it did have its doubts, mainly due to the stormy reactions, caused by Hugo’s source material on the occasion of its first staging in Paris, in 1832. Even Verdi was concerned, but the poet Francesco Maria Piave assured him of the opposite and wrote the entire libretto after the composer’s draft that was at first entitled as La maledizione (The Curse). Then the Austrian censorship banned the opera’s performance under this title due to its alleged immorality and obscenity. However, since the composer had already set a significant part of the play to the music, he could not afford the additional loss of time that would be necessary for the acquisition of a new topic. The obedient and flexible Piave set himself to some remaking, with which, however, the composer did not agree. After a series of complications the senior police officer Martello wisely proposed some alterations, which would comply with the demands of the censorship on the one hand and would not considerably affect the essence of the opera’s dramatic concept on the other. Thus the French King was replaced with the unknown Duke of Mantua, the court jester was named Rigoletto and some other characters also obtained new names so that the premiere, held in Venice on 11th March 1851, could see its triumph at last. The first performance was soon followed by its repetitions as on the other Italian stages as well as abroad – among other in Vienna, in 1852 and in Ljubljana, in 1855. The audience in Paris saw it only two years later, since its staging was initially opposed to by Hugo himself, who soon became a zealous fan of this Verdi’s masterpiece. And it was indeed with it that the thirty eight years old composer reached his artistic maturity. With its heartbreaking and uniform drama Rigoletto certainly outperforms the other pieces from Verdi’s middle creative period. In his collection of works this opera announced a period, in which the composer’s works were marked by greater musical consistency and stronger individual character in comparison to any of the operas, composed by his Italian predecessors. Verdi’s melodics became even warmer and more distinctive, and although dominated by melodious element, the orchestra that convincingly created the mood and deepened the psychological background, was increasingly obtaining a more important role as well. Detlef Soelter, who has successfully revived on our stage Verdi’s Nabucco and also took part in the staging of the Monteverdi’s L’Orfeo, produced by the Ljubljana’s three artistic academies, is coming back to direct yet another staging of the Verdi’s famous operas.

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Richard Wagner’s “Der fliegende Holländer”, The Flying Dutchman, at the Bolshoi in Moskow

bolshoiRichard Wagner’s

“Der fliegende Holländer”

bolshoi_hollander-smOpera in three acts

Premiered on June 20, 2004

Revival: October 16, 2013

Coproduction with Bavarian State Opera

Libretto by Richard Wagner based on the popular legend and a novel by Heinrich Heine

Performance dates:

  • October 16, 2013
  • October 17, 2013
  • October 18, 2013
  • October 19, 2013
  • October 20, 2013
  • October 22, 2013
  • October 23, 2013
  • October 24, 2013

Music Director: Vassily Sinaisky
Stage Director: Peter Konwitschny
Revival Director: Nina Gühlstorff
Sets and Costumes: Johannes Leiacker
Lighting Designer: Damir Ismagilov

CAST

Conductor: Alexei Bogorad, Vassily Sinaisky
The Dutchman: Nathan Berg, Wieland Satter
Daland, a Norwegian sea captain: Nikolai Kazansky, Alexander Teliga
Senta, his daughter: Mardi Byers, Elena Zelenskaya
Eric, a huntsman, Senta’s groom: Viktor Antipenko, Roman Muravitsky
Mary, Senta’s nurse: Elena Novak, Evgenia Segenyuk
Daland’s steersman: Marat Gali, Maxim Paster

In Honor of Richard Wagner’s Bicentennial

 

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Nikolai Rimsky-Korsakov’s “Boris Godunov” at The Bolshoi in Moskow

bolshoiNikolai Rimsky-Korsakov and Modest Mussorgsky’s

“Boris Godunov”

preview_Brodyagi(D)BigOpera in four acts

Premiered on October 16, 1948.

Sung in Russian.
Presented with three intervals.
Running time: 4 hours 7 minutes.

 

Libretto by Modest Mussorgsky, based on Alexander Pushkin’s play of the same name
Version and orchestration by Nikolai Rimsky-Korsakov
Orchestration of “At St. Basil Cathedral” scene by Mikhail Ippolitov-Ivanov

1948 production
Music Director: Nikolai Golovanov
Stage Director: Leonid Baratov
Designer: Fyodor Fedorovsky
Choreographer: Leonid Lavrovsky

2011 revival
Conductors: Vassily Sinaisky, Pavel Sorokin
Director: Igor Ushakov
Designer of scenery revival: Alyona Pikalova
Designer of costumes revival: Elena Zaytseva
Choreography revival: Ekaterina Mironova
Lighting Designer: Sergei Shevchenko
Chorus Master: Valery Borisov

Performance dates:

October 1, 2013  19:00
October 2, 2013  19:00
October 5, 2013  19:00

CAST
Conductor: Pavel Sorokin
Boris Godunov: Mikhail Kazakov
Xenia, his daughter: Anna Aglatova
Fyodor, his son: Elena Novak
Xenia’s Nurse: Evgenia Segenyuk
Prince Vasily Ivanovich Shuisky:Maxim Paster
Andrei Shchelkalov, secretary to the Duma: Andrei Grigoriev
Pimen, hermit chronicler: Pyotr Migunov
Pretender, the false Dimitri, Grigory Otrepiev: Oleg Kulko
Marina Mnishek, daughter of the Sandomierz commander: Svetlana Shilova
Varlaam: Valery Gilmanov
Missail, a vagabond: Yuri Markelov
Innkeeper: Alexandra Durseneva
Simpleton: Marat Gali
Nikitich, police officer: Vladimir Krasov
Mityusha, a peasant: Alexander Korotky
Court Boyar: Leonid Bomshteyn (Vilensky)
Boyar from Kromy: Leonid Bomshteyn (Vilensky)
Two Women: Elena Okolysheva, Irina Udalova

Synopsis

Prologue
Scene 1
A crowd throngs by the high walls of the Novodevichy Monastery in Moscow. The boyar, Boris Godunov, has withdrawn to the monastery after the death of Tsar Fyodor, who did not leave an heir. That Boris will be elected to the throne is a foregone conclu­sion, but he makes a show of refusing the crown so that he is not suspected of wishing to seize power. At the order of a police offi­cer, the people beg Godunov to accept election to the throne:
“Do not abandon us, Father,
Do not leave us helpness!”

But Shchelkalov, secretary of the Duma, announces that Boris is implacable.

Scene 2
Square in front of the Cathedral of the As­sumption in the Kremlin. A majestic pealing of bells — Boris has given his consent and is being crowned. But Tsar Boris is not happy, he is weighed down by anxiety:
“My soul is heavy,
Some instinctive fear
With ominous foreboding
Rivets my heart…”

In the Kremlin the bells are pealing and the people break out again into acclamation.

preview_Dolzhenko+(D)BigAct I
Scene 1
Late at night. A cell in the Chudov Monaste­ry. By the light of an icon-lamp, the wise monk Pimen is writing a truthful chronicle of the history of the Russian state. In his chronicle, Pimen reveals the secret of the murder, by Boris Godunov, of Tsarevitch Dimitri who had stood between him and the throne. Grigory, a young novice, sharing Pimen’s cell, wakes up. He listens to the holy man’s tale and a storm of anxieties, passions and vainglorious ambitions breaks into the peace of the night. The idea comes to Grigo­ry of calling himself the Tsarevitch and of doing battle with Boris for the throne.

preview_GubskyUrodivy(D)Big“Boris! Boris! All tremble before you,
No one dares to remind you
Of the fate of the hapless infant…
But meanwhile a hermit in a dark cell
Is writing a terrible denunciation against you.
And you shall not escape human judgment,
As you shall not escape the judgment of heaven!”

Scene 2
An inn near the Lithuanian frontier. Three va­gabond monks, Varlaam, Missail and Grigory, have dropped in on the sprightly, merry mistress of the establishment. Varlaam, a drunkard and glutton, sings a song about the capture of Kazan. Grigory, questions the mi­stress of the inn on the best route to Lithuania. A police officer comes into the inn: on the Tsar’s orders he is searching for the run­away monk, Grigory Otrepiev. After an un­successful attempt to deflect the suspicion from himself, Grigory leaps through the win­dow and makes good his escape.

preview_KazakovBor(D)BigAct II
Scene 3
The Tsar’s private apartment in the Kremlin. Tsarevitch Fyodor is looking at the “Book of the Big Drawing”, the first map of Russia. Ksenia, Boris’ daughter, is grieving before a portrait of her dead fiancй, the heir to the Danish throne. In an attempt to cheer her up, her old nurse tells her a funny story. Boris comes in and talks tenderly to his children, he is pleased to see his son gleaning wis­dom from a book. But even here, with his children, Boris is tormented by anguish. Russia has been visited by a terrible famine. “Peop­le affected with the plague wander about like wild animals”, and the common people bla­me the Tsar for all their troubles: “in the squ­ares they curse the name of Boris”. Some­thing approaching a groan breaks out from deep down inside the Tsar:
“All around is darkness and impenetrable gloom,
O, for a fleeting glimpse of a ray of joy!..
Some secret anxiety,
One inconstantly expecting disaster!..”

preview_Mamsirova(D)BigThe boyar, Shuisky, comes in, a cunning courtier and leader of a group of boyars with seditious intentions. He brings bad news: a pretender has raised his head in Lithuania, having taken the name of the Tsarevitch Dimi­tri. He has the support of the King of Poland, the Polish nobles and the Pope. Boris requires Shuisky to tell him the truth: is he certain that the babe who was killed in the town of Uglich was the Tsarevitch Dimitri? Shuisky, enjoying the Tsar’s torment, descri­bes the deep wound on the Tsarevitch’s neck, and the angelic smile on his lips…
“It seemed, that in his cradle
He was peacefully sleeping…”

Shuisky departs, having aroused with new force the fears and agitation which grip Bo­ris: the latter now thinks he sees an appari­tion of the murdered Dimitri.

preview_MatorinOkolysheva(P)BigAct III
Scene 4
A ball in the garden of Mnishek, the Governor of Sandomir. The Polish nobles are preparing to march on Moscow. They mean to place their protйgй on the Russian throne: Grigory, the runaway monk from the Chudov monaste­ry, who has taken the name of the murdered Tsarevitch Dimitri. In this they will be helped by the ambitious plans of the Governor’s daugh­ter, the beautiful Marina, who dreams of beco­ming the wife of the future king of Russia. The long-awaited (by the Pretender) rendez­vous between Marina and Dimitri who is in love with her takes place. However, Marina’s abrupt and calculating speech, and her de­termination, which she makes no attempt to conceal, to sit on the Russian throne discon­cert the Pretender for a brief moment. Reali­zing this, Marina wins him over by false pro­testations of her love for him. The Jesuit, Rangoni, celebrates his victory.

preview_NechaevMatorinKudryash(D)BiScene 5
An early winter’s morning. A square in front of the Cathedral of St. Basil the Blessed in Moscow. A crowd of starving people are discussing the Pretender’s victories over the forces of Boris. A Simpleton comes running into the Square. Urchins surround him and take a kopek from him . The Tsar comes out of the Cathedral. “Bread, bread! Give the starving bread! Give us bread, father, for the sake of Christ!” cries the crowd. Goaded by the urchins, the Simple­ton addresses the Tsar: “Order them to be killed, as you killed the little Tsarevitch”. Boris tells the boyars not to seize the Simpleton:
“Let him be! Pray for me, simple person…”
But the Simpleton replies:
No, Boris! It can not be done!
How can one pray for a Tsar Herod?
Our Lady does not allow it…”

preview_SceneKelya(D)BigAct IV
Scene 6
A clearing in the forest near Kromy. Night-­time. The peasants, who are in revolt, lead in a Kromy boyar whom they have taken pris­oner. They make fun of the boyar, reminding him of all their grudges:
“You trained us the right way,
In storms and bad weather, and when roads were impassable,
You exploited us,
And whipped us with a slender lash…”

The arrival of the monks, Varlaam and Missail, who denounce the sins of Boris, the regicide, stirs up the crowd’s anger even more. They break out into a threatening song:
“A dashing young force is on the rampage,
The Cossack blood is all aflame!
A great subversive power has risen from the depths…”

Jesuit priests, the Pretender’s emissaries, appear. But the arrival of these foreigners arouses the crowd’s indignation. The peas­ants drag the Jesuits into the forest to be hanged.

preview_ShilovaLomova(D)BigThe Pretender, rides into the clearing, sur­rounded by troops, Polish gentry and Jesu­its. He frees the Kromy boyar. By promising his favor and protection, the Pretender per­suades the peasants to march on Moscow. The sky lights up with the glow of a fire. The alarm bell is rung. The Simpleton appears, looking round him in fear. His prophetic words of the new troubles that await the Russian people are spoken in anguish and pain:
“Flow, flow, bitter tears,
Cry, cry, Russian Orthodox soul!
Soon the enemy will come and darkness will fall,
Black, impenetrable darkness…”

preview_TarascenkoTerentieva(P)BigScene 7
The Granovitaya Chamber, in the Kremlin. A session of the Duma is in progress. The boyars are discussing what punishment sho­uld be meted out to the Pretender should he be caught. Shuisky appears. He describes the scene in the Tsar’s private apartment, when Boris drove off the apparition of the murdered Tsarevitch Dimitri. At this point, Boris comes running in, shouting: “Away, away, child!” Catching sight of the boyars, he regains his self-control and asks them for advice and help. At this, Shuisky suggests to the Tsar that he listen to a holy man who has come to tell them of a great secret. Boris ag­rees. Pimen is brought in. Pimen’s tale of the miraculous cure of a sick man at the gra­ve of the murdered Tsarevitch Dimitri, in Uglich, is more than Boris can take and he falls senseless to the floor. Regaining conscious­ness, the dying Tsar gives his son advice on how to protect his kingdom:
“Don not trust the slander of the seditious boyars,
Keep a vigilant watch over their secret dealings with Lithuania,
Punish treason without mercy, without charity punish it,
Listen carefully to what the people say –
for their judgement is not hypocritical…”

preview_Scene1(D)BigTo the pealing of the funeral bell and the chanting of a choir of monks, the Tsar dies. The shocked Tsarevitch Fyodor, having paid his last respects to his father, rises to his feet…And immediately, Shuisky who, unse­en, had crept ahead of him, blocks his way to the throne.

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The Icelandic Opera stages Georges Bizet’s Carmen

 

Carmen_midi_is_auglysing_icelandCARMEN

Premiere on October 19th 2013

 

The Icelandic Opera stages Georges Bizet’s Carmen this year, with a premiere at Harpa Concert Hall on October 19th. 

In leading roles are Hanna Dóra Sturludóttir/ Sesselja Kristjánsdóttir as Carmen, Kolbeinn Jón Ketilsson/Garðar Thór Cortes as Don José, Hrólfur Sæmundsson/Kristján Jóhannesson as Escamillo.

The conductor is Guðmundur Óli Gunnarsson, the director is Jamie Hayes, the set designer is Will Bowen, costumes are designed by Helga I. Stefánsdóttir and the choreographer is Lára Stefánsdóttir. The Icelandic Opera Choir, an Icelandic children Choir and Orchestra will furthermore participate in the production.

A totalogoicelandl of six performances of Carmen will take place at Harpa Concert Hall; on Saturday October 19th (premiere),  Saturday October 25th, Saturday November 2nd, Sunday November 10th, Saturday November 16th and Saturday November 23th. All performances start at 8 pm. Tickets go on sale at www.harpa.is

 
The Icelandic Opera – P.O. Box 1416 – 121 Reykjavik – ICELAND
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“Un ballo in maschera” at the Swedish Royal Opera

fst_Maskeradbalen_625x291_2“Un ballo in maschera” at the Swedish Royal Opera

Passion on the edge of disaster

At the castle an attack on Gustav, the king, is planned. But he ignores the warnings about a conspiracy. The king is possessed by a desperate and destructive passion to Amelia, the wife of his adviser and friend Anckarström. With the threat of death hanging over his head he goes to meet his beloved. In a cold and dark wintery Sweden a masquerade filled with betrayal, political intrigue and a yearning for something completely different takes place.

Verdi’s opera Un ballo in maschera was inspired by a historical event, the murder of Sweden’s king Gustav III. The opera was written in the mid-1800s and because of the political atmosphere in Europe and the Italian theater censorship Verdi and his lyricist Somma was forced to rewrite the libretto and place the opera in Boston. Here the director Tobias Theorell has opted for the Italian version after Scribes’ Gustave III ou Le bal Masqué “.

Music Giuseppe Verdi
Libretto Antonio Somma after a text by Eugène Scribe
Direction Tobias Theorell
Scenography Magdalena Åberg
Lights Ellen Ruge
Coreography Roine Söderlundh
Playwright Katarina Aronsson

Schedule

Tuesday, October 15, 2013, 19:00
Thursday, October 17, 2013, 19:00
Thursday, 24 October 24, 2013, 19:00
Monday, 28 October 28, 2013,  19:00
Wednesday, 30 October 30, 2013, 19:00
Monday, November 4, 2013, 19:00
Friday, November 8, 2013, 19:00

CAST

Gustav Klas Hedlund

Anckarström* Vladislav Sulimsky

Amelia Lena Nordin

Ulrica Katarina Leoson

Oscar Marianne Hellgren Staykov

Christian Carl Ackerfeldt

Count Ribbing Johan Edholm

Count Horn Lennart Forsén

A Bishop Magnus Kyhle

Director Keri-Lynn Wilson

fst_Maskeradbalen_625x291_4  fst_Maskeradbalen_625x291_5

fst_Maskeradbalen_625x291_7  fst_Maskeradbalen_625x291_8

 

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“Cosi` fan tutte” at the Opera de Paris

cosifantutte1COSI` FAN TUTTE

OPERA BUFFA in two acts (1790)

Music by WOLFGANG AMADEUS MOZART (1756-1791)
Libretto by LORENZO DA PONTE

Performed in Italian

From October 22 to November 13, 2013

Thus Do They All , or The School for Lovers . When Da Ponte and Mozart teach us, the lesson, however graceful, is harsh and cruel. In this game of masks and deception, the rules are entangled and everybody loses.

Thus do they all or The School for Lovers. When Lorenzo da Ponte is the teacher, the lesson is harsh and cruel, even if Mozart cannot resist tempering the implacable demonstration with musical grace. Before the cynical gaze of a pair of meddling manipulators, two brothers and two sisters become caught up in the alchemy of desire. Here we have pretend soldiers, false Albanians, a fake doctor, a counterfeit lawyer and above all, false friends! Can one really expect the heart to remain steadfast and love to be eternal? In this game of masks and deception with its labyrinthine rules, there can be no winners! Amid the vertiginous polyphony of this concerto for six voices, reminiscent of Marivaux at his most abstract and Musset at his least indulgent, Michael SchØnwandt leads his disciples along the path towards enlightenment.

The composer

Wolfgang Amadeus Mozart was born in Salzburg on 27 January 1756, and died in Vienna on 5 December 1791.
A child prodigy (he took his first harpsichord lessons at the age of four and started composing when he was six), Mozart soon became famous thanks to the many tours organised by his father, Leopold, who was also his teacher and mentor. Despite his short life, he is one of the most prolific composers in the history of music. In the field of opera, after his early works (La Finta semplice, Mitridate re di Ponto, Lucio Silla and La Finta giardiniera, among others), it was with Idomeneo (1781) that he truly asserted his personality. Die Entführung aus dem Serail, the following year, was his first mature work and heralded his later masterpieces : Le Nozze di Figaro in 1786, Don Giovanni in 1787, Così fan tutte in 1789. His last opera, La Clemenza di Tito, was a return to opera seria.

The work

Così fan tutte was commissioned from Mozart at the beginning of September 1789 by the emperor Joseph II who, according to legend, chose the subject himself: a news story which was then the talk of the town.
The commission could not have come at a better time for the composer who was experiencing both psychological and financial difficulties. Lorenzo da Ponte, with whom Mozart had written his two previous operas, thereby creating modern opera (opera where the orchestra no longer simply accompanies the singers but brings out the deeper psychology of the characters), was once more entrusted with the libretto. Così fan tutte is an opera which, like La Clemenza di Tito, was greatly misunderstood. For many years it was considered merely as a romantic comedy, frivolous banter for which the composer had written charming but superficial music. While it is true that da Ponte’s libretto, after the audacity of Le Nozze de Figaro and Don Giovanni, might seem conventional, it is clever, well constructed and theatrical. With his sensual, spirited and passionate music, Mozart poses fundamental questions about love and brings to the libretto surprising psychological depth and an underlying seriousness not present in the original farce.

The first performance

Così fan tutte was first performed at the Burgtheater in Vienna on 26 January 1790. The first production in France was given at the Théâtre des Italiens in Paris on 28 January 1809.

Logo_OnPThe work at the Paris Opera

The work entered the repertoire at the Opéra-Comique in 1920, in a French version, with André Messager as conductor. It was not until 1963 that the Opéra-Comique put on the work in its original version, in a production for the Aix-en-Provence festival. Mozart’s opera was first given at the Palais Garnier on 17 May 1974, in a production by Jean-Pierre Ponnelle (who was also responsible for scenery and costumes), with Josef Krips conducting (alternating with Serge Baudo), and Margaret Price (Fiordiligi), Jane Berbié (Dorabella), Tom Krause (Guglielmo), Ryland Davies (Ferrando), Teresa Stratas/Danièle Perriers (Despina), Gabriel Bacquier (Don Alfonso). Several different casts alternated in this production up until 1980. Così fan tutte returned to the Opéra Comique on 17 April 1982 in a Jean-Claude Auvray production, with scenery and costumes by Bernard Arnould, Gustav Kuhn at the rostrum, and sung by Felicity Lott, Alicia Nafé, Dale Duesing, Eberhard Büchner, Hildegard Heichele and Richard Van Allan. The opera was back at the Palais Garnier in March 1996 in a production staged by Ezio Toffolutti and conducted by Jeffrey Tate with Susan Chilcott/Emily Magee, Susan Graham, Simon Keenlyside, Rainer Trost, Eirian James and William Shimell in the main roles. In 2005, a new production staged by Patrice Chéreau was presented, with Erin Wall, Elina Garanca, Stéphane Degout, Shawn Mathey, Barbara Bonney and Ruggero Raimondi. It is Ezio Toffolutti’s production, revived in 1998 (with Melanie Diener, Angelika Kirschlager, Russel Braun, Bruce Ford, Anna Maria Panzarella, William Shimell), 2000 (with Barbara Frittoli, Katarina Karnéus, Russell Braun, Michael Shade, Nuccia Focile, Rolando Panerai), 2003 (with Anja Harteros, Enkelejda Shkosa, Russell Braun, Roberto Sacca, Maria Bayo and Alessandro Corbelli) and 2011 (with Elza van den Heever, Karine Deshayes, Paulo Szot and Matthew Polenzani) which is being performed this season.

Michael Schonwandt Conductor
Ezio Toffolutti Stage director, sets and costumes
André Diot Lighting
Alessandro Di Stefano Chorus master

Myrto Papatanasiu Fiordiligi
Stéphanie d’Oustrac Dorabella
Dmitry Korchak Ferrando
David Bizic Guglielmo
Lorenzo Regazzo Don Alfonso
Bernarda Bobro Despina

Paris Opera Orchestra and Chorus

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