Verdi, Giuseppe (1813-1901) | Un ballo in maschera | Libreto de Antonio Somma |
Hungarian State Opera | ||
Michelangelo Mazza | Dirección | |
Fabio Ceresa | Dirección de escena | |
Tiziano Santi | Diseño de escena | |
Giuseppe Palella | Diseño de vestuario | |
Szilvia Rálik | Soprano | Amelia |
Eszter Sümegi | Soprano | Amelia |
Mykhailo Malafii | Tenor | Gustavo, King of Sweden |
Attila Fekete | Tenor | Gustavo, King of Sweden |
Bernadett Wiedemann | Mezzosoprano | Ulrica |
Bernadett Fodor | Mezzosoprano | Riccardo |
Levente Molnár | Barítono | Renato |
Alexandru Agache | Barítono | Renato |
Yolanda Covacinschi | Soprano | Oscar |
Zita Szemere | Soprano | Oscar |
Sándor Egri | Bajo | Amelia's servant |
Attila Erdős | Bajo | Cristiano |
Máté Fülep | Barítono | Cristiano |
András Kőrösi | Barítono | Count Horn |
Ferenc Cserhalmi | Bajo | Count Horn |
Géza Gábor | Bajo | Count Ribbing |
Krisztián Cser | Bajo | Count Ribbing |
The subject of this work sparked Verdi's fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story's background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera has not been performed at the Opera for 12 years. Now, it will be returning to the institution's repertoire in an interpretation brought to us by the young Italian director and competition-winner Fabio Ceresa.