| Donnerstag 06 Mai 2027 | 18:00 |
| Samstag 08 Mai 2027 | 18:30 |
| Dienstag 11 Mai 2027 | 18:30 |
| Donnerstag 13 Mai 2027 | 18:30 |
| Sonntag 16 Mai 2027 | 11:00 |
| Dienstag 18 Mai 2027 | 18:30 |
| Freitag 21 Mai 2027 | 18:30 |
| Sonntag 23 Mai 2027 | 11:00 |
| Verdi, Giuseppe (1813-1901) | Il trovatore | Libretto von Salvatore Cammarano |
| Hungarian State Opera | |||
| Martin Rajna | Musikalische Leitung | ||
| Gergely Kesselyák | Regie | ||
| Edit Zeke | Bühnenbild | ||
| Rita Velich | Kostüme | ||
| Tamás Pillinger | Licht | ||
| Hungarian State Opera Orchestra | |||
| Hungarian State Opera Chorus | |||
| Gábor Csiki | Chorleitung | ||
| Michele Kalmandy | Bariton | Il Conte di Luna | 2027 Mai 06, 16 mat, 18, 21, 23 mat |
| Simone Piazzola | Bariton | Il Conte di Luna | 2027 Mai 08, 11, 13 |
| Zsuzsanna Ádám | Sopran | Leonora | 2027 Mai 06, 16 mat, 18, 21 |
| Csilla Boross | Sopran | Leonora | 2027 Mai 08, 11, 13 |
| Valentina Puskás | Sopran | Leonora | 2027 Mai 23 mat |
| Erika Gál | Mezzosopran | Azucena | 2027 Mai 06, 16 mat, 18, 21, 23 mat |
| Anita Rachvelishvili | Mezzosopran | Azucena | 2027 Mai 08, 11, 13 |
| Boldizsár László | Tenor | Manrico | 2027 Mai 06, 13, 16 mat, 18, 23 mat |
| Yusif Eyvazov | Tenor | Manrico | 2027 Mai 08, 11, 21 |
| András Palerdi | Bass | Ferrando | |
| Melinda Heiter | Mezzosopran | Ines | |
| Artúr Szeleczki | Tenor | Ruiz |
Giuseppe Verdi’s opera Il trovatore, one of his most successful works, was inspired by El trovador, the most successful play of the Spanish dramatist Antonio García Gutiérrez. The National Theatre already staged it in 1854, the year following its world premiere. Later, the Hungarian Royal Opera presented it in its year of inauguration, in 1884, at a time when – almost unbelievably – interest in the work had declined in other opera houses. Thanks to Arturo Toscanini’s revivals in 1902, however, the opera regained new strength to be a pillar of international opera repertoire. The wide-ranging melodrama offers an inexhaustible array of bizarre events: persecution, death at the stake, infanticide, jealousy, thirst for revenge, secrets, suicide, execution, fratricide… The heroes of Verdi’s popular opera endure an almost unimaginable earthly hell, created partly by fate but partly by their own desires and lust for vengeance. Following his popular Nabucco production, conductor-director Gergely Kesselyák once again presents another masterpiece of Italian opera that offers ever new interpretations on a more abstract, universal level wherein our souls, condemned to suffer in the depths of the hell we create ourselves, may take on the roles of Manrico, Luna, Leonora, or Azucena.

