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Accueil opéra

Il trovatore

Ce listing n'est plus d'actualité
Teatro RealMadrid, 28013, Espagne
2019 juillet 03, 04, 06, 08, 09, 12, 13, 16, 18, 19, 21, 23, 24, 25 à 20:00
Teatro Real
Maurizio BeniniDirection
Francisco NegrínMetteur en scène
Louis DésiréDécors, Costumes
Ludovic TézierBarytonIl conte di Luna2019 juil. 03, 06, 09, 13, 18, 24
Artur RucińskiBarytonIl conte di Luna2019 juil. 04, 08, 12, 16, 19, 21, 23, 25
Dimitri PlataniasBarytonIl conte di Luna2019 juil. 12, 16, 21
Maria AgrestaSopranoLeonora2019 juil. 03, 06, 09, 13, 18
Hibla GerzmavaSopranoLeonora2019 juil. 04, 08, 12, 16, 19, 21, 23, 24, 25
Lianna HaroutounianSopranoLeonora2019 juil. 12, 16, 21, 24
Ekaterina SemenchukMezzo-sopranoAzucena2019 juil. 03, 06, 09, 13, 18, 21, 24
Marie-Nicole LemieuxContraltoAzucena2019 juil. 04, 08, 12, 16, 19, 23, 25
Francesco MeliTénorManrico2019 juil. 03, 06, 09, 13, 18, 21, 24
Piero PrettiTénorManrico2019 juil. 04, 08, 12, 16, 19, 23, 25
Roberto TagliaviniBasseFerrando
Cassandre BerthonSopranoInes
Fabián LaraTénorRuiz
Moisés MarínTénorA 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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