| Teatro Real | ||
| Mark Wigglesworth | Dirección | |
| Barrie Kosky | Dirección de escena | |
| Klaus Grünberg | Diseño de escena, Diseño de iluminación | |
| Buki Shiff | Diseño de vestuario | |
| Orquesta Titular del Teatro Real | ||
| Coro Titular del Teatro Real | ||
| Ulrich Lenz | Dramaturgia | |
| Martin Winkler | Barítono | Platon Kuzmich Kovalyov |
| Alexander Teliga | Bajo | Ivan Yakovlevich, A Clerk in a Newspaper Office, A Doctor |
| Ania Jeruc | Soprano | Praskovya Osipovna |
| Andrei Popov | Tenor | Police Inspector |
| Vasily Efimov | Tenor | Ivan, Kovalyov's valet, Policemen |
| Anton Rositskiy | Tenor | Nos |
| Dmitry Ivanchey | Tenor | Yaryzhkin |
| Margarita Nekrasova | Mezzosoprano | Pelageya Grigorievna Podtochina |
| Iwona Sobotka | Soprano | Mme Podtochina's daughter |
| Simon Wilding | Bajo | A traveller |
With a cast of 89 roles - spread among a no less gigantic of 33 singers – and a rhythmical action which is nearly cinematographic, The Nose is a huge challenge for any opera house because of its logistic complexities and an exhilarating “nightmare” for its Stage Director. Based on a story by Nikolai Gogol and premiered in Leningrad in 1930, the work was put out of circulation due to the attacks of the Russian Association of Proletarian Musicians. The opera was not seen on stage again until 1974, just a year before the composer’s death. The sarcasm - bordering on Theatre of the Absurd – of its libretto and the “ music without musical structure” score, influenced by the biomechanics of Meyerhold, sustain a spectacle which is as acid in content as it is wildly modern musically.
The debut in the Teatro Real of this cult opera arrives with the acclaimed and irreverent production of Australian Barrie Kosky - who staged the most recent Magic Flute at this theatre -, who has been a fan of this work since his student years. The staging communicates the grotesque mishaps of a grey and pompously bureaucrat who is the lead character.