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Il trovatore

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Teatro RealMadrid, 28013, España
Julio 03, 04, 06, 08, 09, 12, 13, 16, 18, 19, 21, 23, 24, 25 a las 20:00
Intérpretes
Teatro Real
Maurizio BeniniDirector
Francisco NegrínDirector de escena
Louis DésiréDiseño de escena, Diseño de vestuario
Ludovic TézierBarítonoIl conte di Lunajul 03, 06, 09, 13, 18, 24
Artur RucińskiBarítonoIl conte di Lunajul 04, 08, 12, 16, 19, 21, 23, 25
Dimitri PlataniasBarítonoIl conte di Lunajul 12, 16, 21
Maria AgrestaSopranoLeonorajul 03, 06, 09, 13, 18
Hibla GerzmavaSopranoLeonorajul 04, 08, 12, 16, 19, 21, 23, 24, 25
Lianna HaroutounianSopranoLeonorajul 12, 16, 21, 24
Ekaterina SemenchukMezzosopranoAzucenajul 03, 06, 09, 13, 18, 21, 24
Marie-Nicole LemieuxContraltoAzucenajul 04, 08, 12, 16, 19, 23, 25
Francesco MeliTenorManricojul 03, 06, 09, 13, 18, 21, 24
Piero PrettiTenorManricojul 04, 08, 12, 16, 19, 23, 25
Roberto TagliaviniBajoFerrando
Cassandre BerthonSopranoInes
Fabián LaraTenorRuiz
Moisés MarínTenorA messenger
Orquesta Titular del Teatro Real
Coro Titular del Teatro Real

From the impenetrable – and often delirious plot of Il trovatore, the aspect that without a shadow of a doubt most attracted Giuseppe Verdi was the profound vital contradiction in which Azucenafinds herself immersed, as filled with love for her son as full of hate for her mother. At all cost, the musician looked for a way to reveal the overflowing passions of this woman, and as such he defended it to his librettist, reaching the extreme of suggesting that they abandon the story if he was not convinced (as an alternative, he proposed focusing on a section of the plot which would end in an ‘illumination’ as in La Traviata). It was not necessary. The opera was developed over three years of frenetic musical activity and serious personal problems, but Verdi achieved what he was looking for. With an almost rampant termperament and an overpowering impetus, Il trovatoreoverflows with dramatic tension and musical geniality, resulting in a story of love and revenge which increases in intensity throughout, irrepressible, leading to the final catastrophe. From the very moment of its première, the opera increased in popularity, and now over a century and a half later, it continues to be a resounding height of opera repertory.

New production by the Teatro Real, in co-production with the Opéra de Monte-Carlo and the Royal Danish Opera of Copenhagen

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