| Hungarian State Opera | |||
| János Kovács | Dirección | ||
| András Almási-Toth | Dirección de escena | ||
| Krisztina Lisztopád | Diseño de escena | ||
| Bori Tóth | Diseño de vestuario | ||
| Tamás Pillinger | Diseño de iluminación | ||
| Hungarian State Opera Orchestra | |||
| Hungarian State Opera Chorus | |||
| Hungarian National Ballet | |||
| Zsuzsanna Ádám | Soprano | La Gioconda | jun 08, 13 |
| Francesca Tiburzi | Soprano | La Gioconda | jun 11, 15 Matiné, 20 |
| István Kovácsházi | Tenor | Enzo Grimaldo | jun 08, 13 |
| Stefano La Colla | Tenor | Enzo Grimaldo | jun 11, 15 Matiné, 20 |
| Krisztián Cser | Bajo | Alvise Badoero | |
| Andrea Szántó | Mezzosoprano | Laura Adorno | |
| Csaba Szegedi | Barítono | Barnaba | |
| Atala Schöck | Mezzosoprano | La Cieca | |
| Boldizsár Zajkás | Bajo | Zuàne | |
| Gergely Biri | Tenor | Isèpo | |
| Karoly Fekete | Barítono | Monk | |
| Gergely Irlanda | Bajo | Monk |
Opera in four acts, in Italian, with Hungarian, English, and Italian subtitles
Ponchielli's most famous opera whisks the audience back to the magical, but at the same time, dangerous Venetian Republic of the 17th century. The piece's protagonist is a street singer named Gioconda. In spite of her name, which means “the jovial one”, her life takes a tragic turn owing to the intrigues of a diabolically evil figure who is hopelessly in love with her.
Ponchielli and Boito employ nearly every available trope of grand opéra: the carnival masquerade, the love triangle, unexpected twists, poison, a blind woman denounced as a witch, stirring crowd scenes – and dance: the best-known part of the opera is the ballet interlude the Dance of the Hours.
This work in the style of French and Italian grand opera premiered in a production directed by András Almási-Tóth.