Puccini, Giacomo (1858-1924) | Il tabarro | Libretto von Giuseppe Adami |
Puccini, Giacomo (1858-1924) | Suor Angelica | Libretto von Giovacchino Forzano |
Puccini, Giacomo (1858-1924) | Gianni Schicchi | Libretto von Giovacchino Forzano |
La Monnaie | De Munt | |||
Alain Altinoglu | Musikalische Leitung | ||
Tobias Kratzer | Regie | ||
Rainer Sellmaier | Bühnenbild, Kostüme | ||
Bernd Purkrabek | Licht | ||
La Monnaie Symphony Orchestra | |||
La Monnaie Chorus | |||
Manuel Braun | Video | ||
Marie Mergeay | Dramaturgie | ||
Alberto Moro | Chorleitung | ||
La Monnaie Children's and Youth Choirs | |||
Benoît Giaux | Chorleitung | ||
Ouri Bronchti | Musikalische Leitung | ||
Il tabarro | |||
Peter Kálmán | Bariton | Michele | |
Corinne Winters | Sopran | Giorgetta | 2022 Mär 20 mat, 29, Apr 03 mat, 09 |
Lianna Haroutounian | Sopran | Giorgetta | 2022 Mär 15, 17, 23, 26, 31, Apr 06 |
Adam Smith | Tenor | Luigi, A lover (tenor) | |
Roberto Covatta | Tenor | Tinca | |
Giovanni Furlanetto | Bass | Talpa | |
Annunziata Vestri | Mezzosopran | La Frugola | |
Maxime Melnik | Tenor | Un venditore di canzonette (a song vendor) | |
Benedetta Torre | Sopran | A lover (soprano) | |
Suor Angelica | |||
Corinne Winters | Sopran | Suor Angelica | 2022 Mär 20 mat, 29, Apr 03 mat, 09 |
Lianna Haroutounian | Sopran | Suor Angelica | 2022 Mär 15, 17, 26, 29, 31, Apr 06 |
Raehann Bryce-Davis | Sopran | La zia principessa (Aunt Princess) | |
Elena Zilio | Mezzosopran | La badessa (The Abbess) | |
Annunziata Vestri | Mezzosopran | La suora zelatrice (The Monitress) | |
Tineke Van Ingelgem | Sopran | La maestra delle novizie (Mistress of the novices), La suora infermiera (Nursing sister) | |
Benedetta Torre | Sopran | Suor Genovieffa | |
Annelies Kerstens | Sopran | Suor Osmina | |
Raphaële Green | Mezzosopran | Suor Dolcina, Una conversa 2 | |
Karen Vermeiren | Sopran | Prima cercatrice | |
Marta Beretta | Mezzosopran | Una cercatrice 2 | |
Emma Posman | Sopran | Una conversa 1, Una novizia (A novice) | |
Gianni Schicchi | |||
Peter Kálmán | Bariton | Gianni Schicchi | |
Benedetta Torre | Sopran | Lauretta | |
Adam Smith | Tenor | Rinuccio | |
Elena Zilio | Mezzosopran | Zita | |
Roberto Covatta | Tenor | Gherardo | |
Karen Vermeiren | Sopran | Nella | |
Luca Dall'Amico | Bass | Betto di Signa | |
Giovanni Furlanetto | Bass | Simone | |
Gabriele Nani | Bass | Marco | |
Tineke Van Ingelgem | Sopran | La Ciesca | |
Roberto Accurso | Bariton | Maestro Spinelloccio, Ser Amantio di Nicolao | |
Kurt Gysen | Bass | Pinellino | |
Lukas Cortoos | Bass | Guccio |
‘In theatre, there are certain fixed laws: to captivate, to surprise and move, or to make people laugh.’ Giacomo Puccini honours his own code by bringing all those elements together in a single work, Il trittico, which is made up of three one-act operas.
Finding the right librettos was not easy, but one month after the end of the First World War, his triptych – the grim tragedy Il tabarro, the lyrical and sensitive Suor Angelica, and the comedy Gianni Schicchi – premiered in New York. Three different eras, three different settings, three different ‘colours’; though for Puccini, it is through the contrasts between them that the unity of the work is revealed. For his second time directing at La Monnaie, Tobias Kratzer preserves the original order of the pieces, while weaving them together to form a narrative whole, like a circle with no end. With a cast of artists from the extended La Monnaie family, Alain Altinoglu is the ideal conductor to meet the daunting challenges posed by this triptych.