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Il trovatore

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Teatro RealMadrid, 28013, España
2019 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 Luna2019 jul 03, 06, 09, 13, 18, 24
Artur RucińskiBarítonoIl conte di Luna2019 jul 04, 08, 12, 16, 19, 21, 23, 25
Dimitri PlataniasBarítonoIl conte di Luna2019 jul 12, 16, 21
Maria AgrestaSopranoLeonora2019 jul 03, 06, 09, 13, 18
Hibla GerzmavaSopranoLeonora2019 jul 04, 08, 12, 16, 19, 21, 23, 24, 25
Lianna HaroutounianSopranoLeonora2019 jul 12, 16, 21, 24
Ekaterina SemenchukMezzosopranoAzucena2019 jul 03, 06, 09, 13, 18, 21, 24
Marie-Nicole LemieuxContraltoAzucena2019 jul 04, 08, 12, 16, 19, 23, 25
Francesco MeliTenorManrico2019 jul 03, 06, 09, 13, 18, 21, 24
Piero PrettiTenorManrico2019 jul 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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