Nuestra política de privacidad se actualizó por última vez el lunes 24 junio 2019Consultar aquíEliminar
Bachtrack logo
Inicio ópera

I masnadieriNew production

MapaComprarMe interesan
NationaltheaterMúnich, Bayern, Alemania
2020 julio 01, 04 a las 19:00
Festival: Munich Opera Festival
Bayerische Staatsoper
Michele MariottiDirector
Johannes ErathDirector de escena
Kaspar GlarnerDiseño de escena, Diseño de vestuario
Mika KaresBajoMassimiliano, Count Moor
Diana DamrauSopranoAmalia
Charles CastronovoTenorCarlo
Igor GolovatenkoBarítonoFrancesco
Kevin ConnersTenorArminio
Dean PowerTenorRolla
Callum ThorpeBajo-barítonoMoser
Olaf FreeseDiseño de iluminación
Stellario FagoneDirector del coro
Chor der Bayerischen Staatsoper
Bayerisches Staatsorchester

A famous Verdi piece that hardly anyone knows. A plot bursting under high-pressure from the very beginning. A work, incandescent with love and hate, about people searching for a valve to release their passion, with arias that can scarcely be controlled with their emotional abundance. A German story as an Italian opera: Verdi wrote I masnadieri for a libretto based on Friedrich Schiller’s The Robbers. Karl and Franz become Carlo and Francesco; instead of combating social grievances as in the play, in the opera all the characters struggle to keep up with a family story that is laden with early loss and brotherly rivalry, with suppressed desire and misunderstood needs. Slander, blackmail and knife fights become the stuff of the confrontation. The political conflict of The Robbers is intensified on the personal level in Verdi’s opera. It’s not the age that appears to be decrepit, it’s the people. As a commissioned work by Her Majesty’s Theatre in London, I masnadieri was the first opera that Verdi wrote for a theatre outside of Italy, a work during the upheaval at the end of his “galley years”. In his Macbeth created almost in parallel the fissures are already breaking open; in I masnadieri the subterranean fault lines are just about to explode – a tension that is expressed with every beat of the music, in the solos just as much as in the famous robber choirs. Johannes Erath, who had already staged Un ballo in maschera in Munich with an interpretation that profoundly explores the characters, stages this opera as a chamber play of overflowing dimensions.

Mobile version