La finta giardiniera - Schedule, Program & Tickets
La finta giardiniera
Dramma giocoso in three acts (1775)
Music by Wolfgang Amadeus Mozart
Libretto by Giuseppe Petrosellini
Concert performance in Italian
Horrible love chaos: Count Belfiore was furious with jealousy trying to stab his lover, the Marchesa Violante. He does not know that she has survived the attack and now lives under the name Sandrina as a gardener at the Podestà of Largonero. The Podestà immediately fell in love with the beautiful gardener while his maid Serpetta tried to catch him. Behind Serpetta, Sandrina's cousin Nardo runs haplessly. In addition, the cavalier Ramiro lives in the house. He was rejected by Arminda, the niece of the Podestà, in favor of a count and now maintains his lovesickness here in the countryside. Now the wedding of Arminda is to take place, the bride and groom arrive - and the groom is Belfiore! He believes that he recognizes Sandrina's murder. He, Sandrina and the emotional structure in the country house get completely confused to the point of insanity. In the end - except for the Podestà - everyone gets someone, but not always the one they wanted. Early on, Mozart developed his own profile for his music theater: in his ninth opera, he took all psychological needs of the characters seriously and set new standards for the comedy. It is an attempted murder that sets events going, and in the end murderers and victims are to find each other again. The road to reconciliation leads dangerously close to chaos. Mozart, who was already too old for life as a traveling prodigy, probably got the composition commission for this dramma giocoso in the middle of the year 1774. It was to become an opera for the Munich carnival. The premiere was successful, Mozart then wrote enthusiastically to his mother: "After each Aria was always a horrible getös with gossip, and cry viva Maestro." The opera disappeared after this initial success in their Italian original version of the stage, far into the In the 20th century, they were only played in disfiguring arrangements. In the meantime, it has become apparent that in this youth work, a seemingly light rococo comedy, the core of Mozart's entire dramatic art can already be discovered.
Subject to change.
Music by Wolfgang Amadeus Mozart
Libretto by Giuseppe Petrosellini
Concert performance in Italian
Horrible love chaos: Count Belfiore was furious with jealousy trying to stab his lover, the Marchesa Violante. He does not know that she has survived the attack and now lives under the name Sandrina as a gardener at the Podestà of Largonero. The Podestà immediately fell in love with the beautiful gardener while his maid Serpetta tried to catch him. Behind Serpetta, Sandrina's cousin Nardo runs haplessly. In addition, the cavalier Ramiro lives in the house. He was rejected by Arminda, the niece of the Podestà, in favor of a count and now maintains his lovesickness here in the countryside. Now the wedding of Arminda is to take place, the bride and groom arrive - and the groom is Belfiore! He believes that he recognizes Sandrina's murder. He, Sandrina and the emotional structure in the country house get completely confused to the point of insanity. In the end - except for the Podestà - everyone gets someone, but not always the one they wanted. Early on, Mozart developed his own profile for his music theater: in his ninth opera, he took all psychological needs of the characters seriously and set new standards for the comedy. It is an attempted murder that sets events going, and in the end murderers and victims are to find each other again. The road to reconciliation leads dangerously close to chaos. Mozart, who was already too old for life as a traveling prodigy, probably got the composition commission for this dramma giocoso in the middle of the year 1774. It was to become an opera for the Munich carnival. The premiere was successful, Mozart then wrote enthusiastically to his mother: "After each Aria was always a horrible getös with gossip, and cry viva Maestro." The opera disappeared after this initial success in their Italian original version of the stage, far into the In the 20th century, they were only played in disfiguring arrangements. In the meantime, it has become apparent that in this youth work, a seemingly light rococo comedy, the core of Mozart's entire dramatic art can already be discovered.
Subject to change.
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