01
Fr 19:00
Il Barbiere di Siviglia
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
Wolfgang Amadeus Mozart's and Lorenzo Da Ponte's collaboration is one of the great fortunes in cultural history. They chose Beaumarchais ’comedy The Marriage of Figaro, the centerpiece of a trilogy of drama that had become a scandal in France, as a template for their first opera together. Therefore, although they concealed the revolutionary explosive power of the material, they dove all the more deeply into the mental life of the characters and gave the gender relations a meaning that went far beyond the original
As great as Verdi's enthusiasm for Shakespeare's work was, in the end only three of his operas were based on models by the English playwright - besides Macbeth, these were his two last works for music theater, i.e. Otello and Falstaff, both of which he based on the libretti of his former artistic counterpart Arrigo Boito composed. Working together on Otello lasted around seven years before the opera was successfully premiered on February 5, 1887 at La Scala in Milan. Otello was re-enacted worldwide in a very short time, including in Vienna, where the opera was premiered in Austria on March 15, 1888 at the Court Opera, today's State Opera.
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
Wolfgang Amadeus Mozart's and Lorenzo Da Ponte's collaboration is one of the great fortunes in cultural history. They chose Beaumarchais ’comedy The Marriage of Figaro, the centerpiece of a trilogy of drama that had become a scandal in France, as a template for their first opera together. Therefore, although they concealed the revolutionary explosive power of the material, they dove all the more deeply into the mental life of the characters and gave the gender relations a meaning that went far beyond the original
Ottone longs for Poppea. When he meets two sleeping soldiers in front of her house, he realizes that his lover is already visiting: Emperor Nerone is with her. The soldiers wake up and complain about Nerone's affairs and his negligent use of power; Nerone says goodbye to Poppea. Before he has disowned Empress Ottavia, their relationship must remain a secret. Poppea does not want to know about Arnalta's warnings that the world of the mighty is dangerous. Empress Ottavia knows informed of Nerone's adultery. When her wet nurse advises her to also take a lover, Ottavia reacts irritably: She sees through the laws of the world ruled by men and does not want to give Nerone an excuse for her repudiation. Even the state philosopher Seneca has no advice, for which a page denounces him as a lying intellectual and vain self-promoter. Pallas Athene, the goddess of wisdom, announces his imminent death to Seneca.
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
Wolfgang Amadeus Mozart's and Lorenzo Da Ponte's collaboration is one of the great fortunes in cultural history. They chose Beaumarchais ’comedy The Marriage of Figaro, the centerpiece of a trilogy of drama that had become a scandal in France, as a template for their first opera together. Therefore, although they concealed the revolutionary explosive power of the material, they dove all the more deeply into the mental life of the characters and gave the gender relations a meaning that went far beyond the original
Ottone longs for Poppea. When he meets two sleeping soldiers in front of her house, he realizes that his lover is already visiting: Emperor Nerone is with her. The soldiers wake up and complain about Nerone's affairs and his negligent use of power; Nerone says goodbye to Poppea. Before he has disowned Empress Ottavia, their relationship must remain a secret. Poppea does not want to know about Arnalta's warnings that the world of the mighty is dangerous. Empress Ottavia knows informed of Nerone's adultery. When her wet nurse advises her to also take a lover, Ottavia reacts irritably: She sees through the laws of the world ruled by men and does not want to give Nerone an excuse for her repudiation. Even the state philosopher Seneca has no advice, for which a page denounces him as a lying intellectual and vain self-promoter. Pallas Athene, the goddess of wisdom, announces his imminent death to Seneca.
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
Ottone longs for Poppea. When he meets two sleeping soldiers in front of her house, he realizes that his lover is already visiting: Emperor Nerone is with her. The soldiers wake up and complain about Nerone's affairs and his negligent use of power; Nerone says goodbye to Poppea. Before he has disowned Empress Ottavia, their relationship must remain a secret. Poppea does not want to know about Arnalta's warnings that the world of the mighty is dangerous. Empress Ottavia knows informed of Nerone's adultery. When her wet nurse advises her to also take a lover, Ottavia reacts irritably: She sees through the laws of the world ruled by men and does not want to give Nerone an excuse for her repudiation. Even the state philosopher Seneca has no advice, for which a page denounces him as a lying intellectual and vain self-promoter. Pallas Athene, the goddess of wisdom, announces his imminent death to Seneca.
A dance festival of American neoclassical music with works by George Balanchine and Jerome Robbins - newly combined from the Viennese repertoire and supplemented by the state ballet premiere of "A Suite of Dances"!
Ottone longs for Poppea. When he meets two sleeping soldiers in front of her house, he realizes that his lover is already visiting: Emperor Nerone is with her. The soldiers wake up and complain about Nerone's affairs and his negligent use of power; Nerone says goodbye to Poppea. Before he has disowned Empress Ottavia, their relationship must remain a secret. Poppea does not want to know about Arnalta's warnings that the world of the mighty is dangerous. Empress Ottavia knows informed of Nerone's adultery. When her wet nurse advises her to also take a lover, Ottavia reacts irritably: She sees through the laws of the world ruled by men and does not want to give Nerone an excuse for her repudiation. Even the state philosopher Seneca has no advice, for which a page denounces him as a lying intellectual and vain self-promoter. Pallas Athene, the goddess of wisdom, announces his imminent death to Seneca.
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
With his »lyrical scenes in three acts«, premiered by a student ensemble at Moscow's Maly (di Small) Theater in 1879, Tchaikovsky abandoned the »grand style« that was largely binding for the opera of his time: »I don't need tsars, tsaresses, popular uprisings, battles, marches ... I am looking for an intimate but strong drama that is based on the conflicts that I have experienced or seen myself, which can affect me deeply. "
A dance festival of American neoclassical music with works by George Balanchine and Jerome Robbins - newly combined from the Viennese repertoire and supplemented by the state ballet premiere of "A Suite of Dances"!
A dance festival of American neoclassical music with works by George Balanchine and Jerome Robbins - newly combined from the Viennese repertoire and supplemented by the state ballet premiere of "A Suite of Dances"!
With his »lyrical scenes in three acts«, premiered by a student ensemble at Moscow's Maly (di Small) Theater in 1879, Tchaikovsky abandoned the »grand style« that was largely binding for the opera of his time: »I don't need tsars, tsaresses, popular uprisings, battles, marches ... I am looking for an intimate but strong drama that is based on the conflicts that I have experienced or seen myself, which can affect me deeply. "
A dance festival of American neoclassical music with works by George Balanchine and Jerome Robbins - newly combined from the Viennese repertoire and supplemented by the state ballet premiere of "A Suite of Dances"!
A dance festival of American neoclassical music with works by George Balanchine and Jerome Robbins - newly combined from the Viennese repertoire and supplemented by the state ballet premiere of "A Suite of Dances"!
With his »lyrical scenes in three acts«, premiered by a student ensemble at Moscow's Maly (di Small) Theater in 1879, Tchaikovsky abandoned the »grand style« that was largely binding for the opera of his time: »I don't need tsars, tsaresses, popular uprisings, battles, marches ... I am looking for an intimate but strong drama that is based on the conflicts that I have experienced or seen myself, which can affect me deeply. "
Adriana Lecouvreur, Francesco Cila's fourth and most famous opera, tells of the last love affair and the death of the French actress Adrienne Lecouvreur. She lived from 1692 to 1730 and was one of the best and most prominent actresses of her time. She had a long-term liaison with the no less well-known general Moritz von Sachsen; the rumor that the Duchess of Bouillon, who was also in love with Moritz, was killing her, occupied all of Paris.
A dance festival of American neoclassical music with works by George Balanchine and Jerome Robbins - newly combined from the Viennese repertoire and supplemented by the state ballet premiere of "A Suite of Dances"!
With his »lyrical scenes in three acts«, premiered by a student ensemble at Moscow's Maly (di Small) Theater in 1879, Tchaikovsky abandoned the »grand style« that was largely binding for the opera of his time: »I don't need tsars, tsaresses, popular uprisings, battles, marches ... I am looking for an intimate but strong drama that is based on the conflicts that I have experienced or seen myself, which can affect me deeply. "
Adriana Lecouvreur, Francesco Cila's fourth and most famous opera, tells of the last love affair and the death of the French actress Adrienne Lecouvreur. She lived from 1692 to 1730 and was one of the best and most prominent actresses of her time. She had a long-term liaison with the no less well-known general Moritz von Sachsen; the rumor that the Duchess of Bouillon, who was also in love with Moritz, was killing her, occupied all of Paris.
With his »lyrical scenes in three acts«, premiered by a student ensemble at Moscow's Maly (di Small) Theater in 1879, Tchaikovsky abandoned the »grand style« that was largely binding for the opera of his time: »I don't need tsars, tsaresses, popular uprisings, battles, marches ... I am looking for an intimate but strong drama that is based on the conflicts that I have experienced or seen myself, which can affect me deeply. "
Balanchine - Ratmansky - Schläpfer: three masters of contemporary ballet meet with dances to music by Russian and Soviet composers. They are connected by their roots. The choreographers through the Danse d’école as the basis for a contemporary art of ballet; the composers Stravinsky, Mussorgsky and Shostakovich through the musical culture of their homeland, from which their paths led in so different directions.
Adriana Lecouvreur, Francesco Cila's fourth and most famous opera, tells of the last love affair and the death of the French actress Adrienne Lecouvreur. She lived from 1692 to 1730 and was one of the best and most prominent actresses of her time. She had a long-term liaison with the no less well-known general Moritz von Sachsen; the rumor that the Duchess of Bouillon, who was also in love with Moritz, was killing her, occupied all of Paris.
Balanchine - Ratmansky - Schläpfer: three masters of contemporary ballet meet with dances to music by Russian and Soviet composers. They are connected by their roots. The choreographers through the Danse d’école as the basis for a contemporary art of ballet; the composers Stravinsky, Mussorgsky and Shostakovich through the musical culture of their homeland, from which their paths led in so different directions.
The tenor aria "Salut, demeure chaste et pure" ("Greetings to me, chaste and pure dwelling") is exemplary of Charles Gounod's handling of Johann Wolfgang von Goethe's tragedy: on the one hand the text is almost literally based on the original, on the other hand it adds So much languishing feeling is added to the music that for some guardians of the grail of German culture of sensual refinement it became too much: while Faust sings about the "innocent and divine soul" of the absent Marguerite, the solo violin hugs his melody like a duet partner. And "the melody is delightful," even the Gounod skeptic Hector Berlioz said in his premiere review: "There was applause, but not enough, the aria deserved a hundredfold applause."