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Abgesagt: I masnadieriNew production

Diese Veranstaltung fand in der Vergangenheit statt
NationaltheaterMax-Joseph-Platz 2, München, Bayern, 80539, Deutschland
März 08 18:00, März 11 19:00, März 14 19:00, März 18 19:00, März 22 18:00, März 26 19:00, März 29 18:00
Verdi, Giuseppe (1813-1901)I masnadieriLibretto von Andrea Maffei
Bayerische Staatsoper
Michele MariottiDirigent
Johannes ErathRegisseur
Kaspar GlarnerBühnenbild, Kostüme
Mika KaresBassMassimiliano, Count Moor
Diana DamrauSopranAmaliaMär 08, 11, 14, 18, 22, 26
Carmen GiannattasioSopranAmaliaMär 29
Charles CastronovoTenorCarlo
Igor GolovatenkoBaritonFrancesco
Kevin ConnersTenorArminio
Dean PowerTenorRolla
Callum ThorpeBassbaritonMoser
Olaf FreeseLicht
Stellario FagoneChorleitung
Chor der Bayerischen Staatsoper
Bayerisches Staatsorchester

A famous Verdi piece that hardly anyone knows. A plot bursting under high-pressure from the very beginning. A work, incandescent with love and hate, about people searching for a valve to release their passion, with arias that can scarcely be controlled with their emotional abundance. A German story as an Italian opera: Verdi wrote I masnadieri for a libretto based on Friedrich Schiller’s The Robbers. Karl and Franz become Carlo and Francesco; instead of combating social grievances as in the play, in the opera all the characters struggle to keep up with a family story that is laden with early loss and brotherly rivalry, with suppressed desire and misunderstood needs. Slander, blackmail and knife fights become the stuff of the confrontation. The political conflict of The Robbers is intensified on the personal level in Verdi’s opera. It’s not the age that appears to be decrepit, it’s the people. As a commissioned work by Her Majesty’s Theatre in London, I masnadieri was the first opera that Verdi wrote for a theatre outside of Italy, a work during the upheaval at the end of his “galley years”. In his Macbeth created almost in parallel the fissures are already breaking open; in I masnadieri the subterranean fault lines are just about to explode – a tension that is expressed with every beat of the music, in the solos just as much as in the famous robber choirs. Johannes Erath, who had already staged Un ballo in maschera in Munich with an interpretation that profoundly explores the characters, stages this opera as a chamber play of overflowing dimensions.

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