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- Avant Program
- Aida
- Tosca
- Nabucco
- Carmen
- Rigoletto
- Romeo Et Juliet
- 20 Friday June 2008 – Aida
- 21 Saturday June 2008 - Tosca
- 22 Sunday June 2008 - Nabucco
- 26 Thursday June 2008 - Nabucco
- 27 Friday June 2008 – Tosca
- 28 Saturday June 2008 – Aida
- 3 Thursday July 2008 - Nabucco
- 4 Friday July 2008 – Tosca
- 5 Saturday July 2008 - Carmen
- 6 Sunday July 2008 - Aida
- 8 Tuesday July 2008 – Aida
- 9 Wednesday July 2008 - Nabucco
- 10 Thursday July 2008 – Carmen
- 11 Friday July 2008 - Aida
- 12 Saturday July 2008 – Tosca
- 13 Sunday July 2008 - Carmen
- 15 Tuesday July 2008 - Carmen
- 16 Wednesday July 2008 - Nabucco
- 17 Thursday July 2008 - Aida
- 18 Friday July 2008 - Carmen
- 19 Saturday July 2008 - Tosca
- 20 Sunday July 2008 - Aida
- 24 Thursday July 2008 - Tosca
- 25 Friday July 2008 - Carmen
- 26 Saturday July 2008 - Nabucco
- 27 Sunday July 2008 - Aida
- 1 Friday August 2008 - Tosca
- 2 Saturday August 2008 - Rigoletto
- 3 Sunday August 2008 - Aida
- 5 Tuesday August 2008 - Carmen
- 6 Wednesday August 2008 - Rigoletto
- 7 Thursday August 2008 - Nabucco
- 8 Friday August 2008 - Aida
- 9 Saturday August 2008 - Rigoletto
- 10 Sunday August 2008 - Carmen
- 15 Friday August 2008 - Carmen
- 16 Saturday August 2008 - Romeo Et Juliette
- 17 Sunday August 2008 - Aida
- 19 Tuesday August 2008 - Romeo Et Juliette
- 20 Wednesday August 2008 - Rigoletto
- 21 Thursday August 2008 - Aida
- 22 Friday August 2008 - Carmen
- 23 Saturday August 2008 - Rigoletto
- 24 Sunday August 2008 - Aida
- 26 Tuesday August 2008 - Aida
- 27 Wednesday August 2008 - Carmen
- 28 Thursday August 2008 - Rigoletto
- 29 Friday August 2008 - Nabucco
- 30 Saturday August 2008 - Carmen
- 31 Sunday August 2008 - Aida
Dates are confirmed and to check the casts for the Operas click on the above tabs. Dates and casts informations are courtesy supplied by Fondazione Arena Di Verona.
Conductor: Renato Palumbo
Director: Gianfranco De Bosio
Cast of Characters
Radamès: Captain of the guards, in love with Aida
- Marco Berti (20, 28/6)
- Carlo Ventre (6, 8, 11/07)
- Piero Giuliacci (17, 20, 27/7 - 8, 21, 26/8)
- Walter Fraccaro (3, 17, 24, 31/8)
Ramfis: Head of the High Priests
- Paata Burchuladze (20, 28/6 - 6, 8, 11/7)
- Riccardo Zanellato (17 ,20 ,27/7 – 3, 8, 17, 21, 24, 26, 31/8)
Aida: Ethiopian slave to Amneris and daughter of the Ethiopian King Amonasro
- Micaela Carosi (20, 28/6 - 6, 8, 11, 27/7 -3, 8/8)
- Amarilli Nizza (17, 21, 24, 26, 31/8)
- Isabelle Kabatu (17, 20/7)
Amneris: Daughter of the Egyptian Pharaoh
- Dolora Zajick (20, 28/6 - 6, 8, 11/7)
- Marianne Cornetti (17, 20, 27/7 - 3, 8, 17/8)
- Anna Smirnova ( 21, 24, 26, 31/8)
The King: Egyptian Pharaoh
- Konstantin Gorny ( 20, 28/06 - 6, 8, 11, 17, 20/7)
- Gianluca Breda (27/7 - 3, 8, 17, 21, 24, 26, 31/08)
Amonasro: King of Ethiopia, Aida's father
- Ambrogio Maestri (20, 28/6 – 6, 8, 20/7 - 3/8)
- Alberto Mastromarino (17, 21, 24, 26, 31/8)
- Giovanni Meoni (11, 17, 27/7 - 8/8)
High Priestess:
- Antonella Trevisan (20, 28/6 - 6, 8, 11, 17, 20, 27/7)
- Paola Fornasari Patti (3, 8, 17, 21, 24, 26, 31/8)
A Messenger:
- Antonello Ceron (20, 28/6 - 6, 8/7 - 3, 8, 26, 31/08)
- Enzo Peroni (11, 17, 20, 27/7)
- Carlo Bosi (17, 21, 24/8)
Setting: Ancient Egypt
ACT ONE - Scene I - A room in the Royal Palace in Memphis.
Radamès, the Captain of the Guards, learns from Ramfis, the head of the High Priests, that the Ethiopians are threatening war and that the Goddess Isis has already decided on the name of the Egyptian supreme commander who will lead the Egyptian army in confronting the enemy. Radamès is overjoyed at the news and hopes he will be chosen. He imagines a glorious victory where he is able to return triumphantly to free his beloved Aida, slave of Amneris, the Egyptian King's daughter. Amneris appears and he tells her of his hopes, with no mention of his feelings for Aida, although Amneris has her suspicions. Shortly after, Aida herself approaches and Amneris sees in her eyes the love she bears for Radamès. She swears vengeance because she too is in love with the young captain of the guards. In the meantime the King enters preceded by his guards and followed by priests led by Ramfis. A messenger enters bearing the news that the Ethiopians have invaded Egypt and are marching against Thebes, led by the mighty warrior Amonasro. The King announces that Isis has appointed Radamès supreme commander. The crowd cries out in homage to him, while Amneris punctuates the choral song with a languorous appeal for her warrior to return in victory. Only Aida is sad since the victory of Radamès, whom she loves, must mean the defeat of her father, the King of Ethiopia, who has taken up arms to free her from slavery. In this moment of distress, she calls upon the gods to have pity on her.
ACT ONE - Scene II - Inside the temple of Vulcan in Memphis.
The priests and priestesses sing a hymn to the gods. Radamès enters dressed for battle, receives the sacred sword and is consecrated to Fthà to protect him in war and to direct him towards victory.
ACT TWO - Scene I - A room in Amneris' private apartments.
The King's daughter is surrounded by her slaves who are dressing her for the triumphal Egypitan festivities, while young Moorish slaves perform a dance. When Aida appears, Amneris hides her true feelings and sympathizes with her for the fate of her people, defeated in the battle. Then, to discover whether Aida is, in fact, in love with Radamès, she tells her that he has been killed in the battle. Aida is stricken with grief; Amneris confirms her suspicions and filled with rage, reveals the truth. Radamès is alive and she, Amneris, loves him too. At first Aida proudly declares her love, but then begs in vain for pity. Amneris threatens her, reminding her that she is only a slave and cannot hope to compete with a daughter of the Pharaohs. At this point, Aida is about to reveal her royal identity but decides against it.
ACT TWO - Scene II - At the city walls in Thebes.
The population celebrates the victory, while the King and Amneris, together with Aida and other slaves, the ministers and priests, await Radamès to celebrate his triumph. A column of soldiers and prisoners arrives, with Radamès at its head. The King welcomes him and asks him what he would like as a reward. Radamès has the prisoners brought before the King. Among them Aida recognizes her father Amonasro and succeeds in speaking to him briefly. He commands her not to betray him, and, without revealing his true identity, both Aida and her father beg for his mercy. Radamès also pleads that all the prisoners be freed, but the high priest objects and proposes that at least Aida and her father be held in Egypt, as a guarantee of peace. The king approves this suggestion and announces that he intends to reward Radamès by bestowing the hand of Amneris upon him. While the crowd cheers, Radamès and Aida secretly express their sorrow.
ACT THREE - Night on the banks of the Nile.
At the temple of Isis Ramfis leads Amneris to the temple to receive the goddess' blessing on the eve of her wedding. Concealed nearby, Aida awaits Radamès for their secret encounter, but while she is waiting Amonasro appears. He has discovered the emotions Aida and Radamès feel for each other. He reminds Aida of the beauties of her native land, and the cruelty of their enemies and urges her to persuade Radamès to reveal the route the Egyptian forces will use to invade Ethiopia. Aida is horrified at his suggestion. Then Radamès approaches and Amonasro conceals himself. Aida proposes to Radamès that they flee from Egypt, following some secret route unguarded by the Egyptian forces. Radamès agrees and then Aida questions him on the route his army will take into Ethiopia. Radamès mentions the gorges of Napata and at that moment Amonasro reappears and reveals his true identity. Radamès is horror-stricken, for he realizes that he has revealed a military secret and is dishonoured. At this point Amneris arrives from the temple and cries out at the betrayal. Amonasro seeks to kill her but Radamès prevents him, and surrendering his sword to Ramfis, allows himself to be taken prisoner. Amonasro escapes with Aida.
ACT FOUR - Scene I - A room in the King's Palace.
Amneris is torn between rage, sorrow and love. She wants to save Radamès and has him brought before her. She asks him to plead not guilty before the High Priests to his conviction of being a traitor. In this way she can help him. He refuses. To convince him, Amneris has him believe that Aida is dead along with her father Amonasro. This does not dissuade him as now life holds nothing more for him. Finally, Amneris reveals that Aida is, in fact, still alive. This revelation precipitates rejoicing by Radamès that he can now die to protect his beloved. However, Amneris declares that she will implore the King to pardon him if only he will renounce his love for Aida. He repeatedly refuses. He is consequently taken back to the dungeon and sentenced to be buried alive under the altar in the temple of Vulcan. Amneris bitterly deplores the cruelty of the priests and their punishment.
ACT FOUR - Scene II - In the Temple of Vulcan in Radamès' tomb.
Radamès is ready to die and prays that Aida will be able to find happiness one day: but Aida is concealed in the chamber and comes forward to embrace him. Radamès laments Aida's harsh fate, and vainly tries to dislodge the stone that seals the tomb. But Aida consoles him with the certainty that the ''angel of death'' will unite them forever and appears to be already speeding to a celestial haven. While the two lovers bid farewell to the Earth, Amneris clothed in mourning robes, prostrates herself on the stone covering the entrance to the vault and beseeches the gods to grant peace to the man buried below.
Dates and casts informations are courtesy supplied by Fondazione Arena Di Verona.
Conductor: Giuliano Carella
Director, Stage & Custome Designer: Hugo De Ana
Cast of Characters
Floria Tosca: A celebrated songstress
Mario Cavaradossi: Painter and lover of Tosca
- Marcello Giordani (21, 27/06 - 4, 12, 19/07)
- Carlo Ventre (24/07 - 1/08)
Cesare Angelotti: Political prisoner and escapee of the Castel Sant'Angelo Prison
Il Barone Scarpia: Chief of Police
Spoletta: Police Agent
Setting: Rome, June 1800
ACT ONE - In the church of Sant'Andrea della Valle.
Angelotti, a political prisoner who has escaped from the Castel Sant'Angelo prison, furtively enters the Church of Sant'Andrea della Valle. Near the holy water basin he finds the key to the family vault, placed there by his sister, the Marchesa Attavanti; he seizes it, hurriedly conceals himself in the vault and waits for dusk to fall. In the meantime the Sacristan arrives and, grumbling and fuming, hastens to gather up the brushes and paints scattered around an easel. Then the painter Mario Cavaradossi arrives and prepares to add a few finishing touches to a painting of Mary Magdalene. The Sacristan comments on the strange likeness between the painting and the unknown lady seen kneeling in prayer in the Church a few days previous. Mario, silently, contrasts the beauty of the blonde-haired, blue-eyed lady in the painting with that of the woman he deeply loves, the raven-haired, dark-eyed singer, Floria Tosca. Having completed his chores, the Sacristan leaves the Church scandalized by Mario's comparison of human beings and sacred figures in his paintings. Angelotti takes this opportunity to leave his hiding place and to approach Cavaradossi, who immediately recognizes him and, finding him worn out with fatigue, offers him his help and his food basket. Their conversation is interrupted by the sudden appearance of Tosca who, noticing Mario's embarrassment, becomes suspicious. Her doubts and jealousy increase when she recognizes in the painting the likeness to the Marchesa Attavanti, portrayed unobserved by Cavaradossi when she had come to the Church to prepare her brother's escape. Mario tries to calm Tosca, expressing all his love and tenderness for her. In the end, Tosca is satisfied and leaves the Church. The painter resumes his conversation with the fugitive and offers him shelter in his villa, where there is a secret chamber in a well, in which he can hide safely. The sound of a cannon fired from Castel Sant'Angelo announces that the escape has been discovered. Cavaradossi and Angelotti quickly abandon the scene. The Sacristan returns with choirboys and a "Te Deum" is sung to celebrate a supposed victory over Napoleon. The atmosphere of rejoicing is soon overshadowed, however, by the presence of the police and the Chief of Police, Baron Scarpia, who is conducting the enquiry into Angelotti's escape. He orders all those present to leave the Church immediately and begins his investigation. He finds the Attavanti family vault open, sees the empty food basket, discovers a fan bearing the Marchesa's coat-of-arms and recognizes the Marchesa's face in the painting by Cavaradossi. He links this evidence with the statement made by the Sacristan, reconstructs the events and plans a course of action. In the meantime, Tosca returns to the Church and is annoyed because Mario is not there. The dissolute Baron Scarpia seizes the opportunity to vex her and increase her jealousy, with the two-fold purpose of following Angelotti's tracks and seducing her. Thinking Mario unfaithful, Tosca tearfully vows vengeance and hastens to Cavaradossi's villa to surprise him with the mistress she suspects him to be with. Scarpia gives orders to follow her. In the meantime, the congregation once again fills the Church and the scene closes with the solemn notes of the 'Te Deum'.
ACT TWO - The Farnese Palace.
Scarpia is dining in a room of the palace, waiting the return of the men ordered to follow Tosca. The sound of the reception organized to celebrate the defeat of Napoleon can be heard through the open window. Spoletta arrives and breathlessly announces that, having failed to find any trace of Angelotti, he has arrested Cavaradossi under the charge of having conspired against the State and aided the escape of the fugitive. Scarpia subjects the painter to intense interrogation but Mario replies scornfully and firmly denies the charges. Tosca, who is present at the reception where she has just sung, is summoned by Scarpia; she arrives quickly and, seeing Mario, rushes to embrace him. Cavaradossi whispers to her that she must not say anything and is then taken into the torture chamber. The tortures fail to make him confess. Tosca, who at first bravely holds out against Scarpia's insidious questions and repugnant offers, on hearing Mario's agonized cries, gives in and reveals the fugitive's hiding place. Scarpia then has the prisoner untied and orders Spoletta to proceed immediately to Cavaradossi's villa and arrest Angelotti, who is concealed in the well. It is clear to Mario that Tosca has revealed his secret; he curses her and collapses in a faint. He rouses himself and gives an exultant cry when the gendarme Sciarrone returns announcing that the Austrians have been beaten at Marengo. Scarpia angrily orders his men to take Cavaradossi to a prison cell to await his execution. Tosca is desperate. She begs Scarpia to spare Mario and attempts to bribe him, but the Baron says that he is not interested in money; the only reward he is prepared to accept is Tosca herself. He will save Mario only if Tosca consents to give herself to him. Spoletta suddenly interrupts the discourse to inform them that Angelotti has preferred suicide to surrender and that Calvaradossi is ready for execution. Tosca, beside herself with grief, pretends to accept Scarpia's cruel proposition. The Baron then explains that he will order a mock execution with blank ammunition, but actually gives orders to Spoletta for Cavaradossi to be shot. It is his last crime; having written out a document of safe conduct authorizing Mario and Tosca to leave the country, he advances to embrace her. Tosca stabs him with a knife, wounding him fatally, wrenches the document from his fingers and, placing candles at his head and a crucifix on his chest, slips out quietly.
ACT THREE - The terrace at the top of Castel Sant'Angelo.
It is dawn. The Church bells are sounding the Ave Maria. A young shepherd can be heard singing, as he takes his sheep out to the pastures. A guard escorts Cavaradossi to the casemate; his last hour is approaching. Mario is writing a last desperate farewell to the world and to love. He thinks of the happy days that will never return and of the life that he is about to lose, now that he has become attached to it as never before. He wants the farewell note to be passed on to Tosca. Suddenly Tosca enters, tells him that Scarpia is dead, shows him the document of safe conduct and warns him that he must go through a mock execution. Mario cannot believe his ears. Tosca then confesses that she has murdered Scarpia after having made an agreement with him. She implores Mario to act the part well and to fall to the ground when the execution platoon fires. Then, when the guards have left, they will be able to flee to other lands and to live together happy and free. The execution platoon fires and Mario falls to the ground, never to rise again. When Mario fails to move, Tosca is suddenly aware of the cruel deception, that Scarpia's treachery has transcended the grave; the bullets were real. Tosca flings herself desperately on his body, horrified and unable to believe the tragedy that has struck her. In the meantime, Scarpia's men have discovered his dead body and run to seize Tosca, but she evades them and throws herself headlong over the battlements of the castle, crying that she will meet Scarpia before God.
Dates and casts informations are courtesy supplied by Fondazione Arena Di Verona.
Conductor: Daniel Oren
Director, Stage & Custome Designer: Denis Krief
Cast of Characters
Zaccaria: Supreme High Priest
- Roberto Scandiuzzi (22, 26/6)
- Paata Burchuladze (3, 9, 16, 26/07 - 7, 29/8)
Ismaele: Nephew of Sedecia, King of Jerusalem, in love with Fenena
- Giorgio Casciarri (22/6 - 16, 26/7)
- Valter Borin (26/06 - 3, 9/07 - 7, 29/8)
Nabucodonosor (Nabucco): King of Babylon
- Leo Nucci (22, 26/6 - 3, 9/7)
- Ambrogio Maestri (16, 26/7 - 7, 29/8)
Abigaille: Presumed first-born daughter of Nabucco
- Maria Guleghina (22, 26/6 - 3, 9, 26/7 - 7/08)
- to be announced (16/7 - 29/8)
Abdallo
Anna
Setting: 586 B.C.
ACT ONE - In the temple of Solomon in Jerusalem.
The Hebrews and the Levites are gathered together in Solomon's temple to lament the fate of the Israelites, who have just been defeated by the Babylonian king Nabucco, who is about to enter the city at the head of his victorious army. The high priest Zaccaria encourages his followers not to abandon hope as they are holding a valuable hostage, Fenena, Nabucco's daughter. Fenena is entrusted to the custody of Ismaele, nephew of the king Sedecia of Jerusalem. Ismaele, however, is in love with Fenena, who had freed him, at a greater personal risk, when he was held prisoner in Babylon. He now intends to return the favour. The two are planning to run away together when Abigaille, whom everyone believes to be Nabucco's first-born daughter enters the temple, carrying a sword in her hand, at the head of a band of Babylonian soldiers who are disguised as Hebrews. In a whisper, Abigaille declares her love to Ismaele and offers freedom to all the Hebrews in return for his love. Ismaele refuses to be blackmailed. In the meantime a crowd of Hebrews, who are being hunted down by Nabucco's soldiers, seek refuge in the temple. Then the king himself appears on the threshold. Zaccaria threatens to kill Fenena if Nabucco and his people dare violate the sacred place. He raises his dagger to Fenena but Ismaele intervenes and saves her from death. Zaccaria condemns Ismaele for being a traitor. Nabucco, embracing his daughter, orders that the temple be put to fire and sword.
ACT TWO - Sacrilege - Scene I - The apartments of the Royal Palace in Babylon.
From a document Nabucco had kept secret, Abigaille learns of her true origins; she is not Nabucco's first-born but some slave's daughter. She is disturbed, but perseveres in her plans to wreak vengeance on Fenena, to whom Nabucco has entrusted the throne during his absence fighting the Hebrews. She contemplates having her rival murdered, taking over the throne and spreading the news that Nabucco is dead. She is supported by the high priest of Belo.
ACT TWO - Sacrilege - Scene II - The apartments of the Royal Palace in Babylon.
In another wing of the Royal Palace in Babylon Zaccaria, together with his people, is going to Fenena's apartments to convince her to convert to the Jewish fate. A chorus of Levites is heard cursing Ismaele for having saved Fenena; he is seen as a traitor by everyone. Zaccaria orders the Levites to stop insulting Ismaele, that he is not a traitor as he saved from death a converted woman. Abigaille is about to carry out her plan when Nabucco unexpectedly returns. He grasps the crown and declares himself sole king and God of a people who must adore him for eternity. At these blasphemous words a thunderbolt of lightening strikes beside the terrorised King and he feels the crown being snatched from his head by a supernatural force. A deep silence follows the confusion caused by this mysterious event. Abigaille takes advantage of it to pick up the fallen crown and swears that the "splendour of the people of Belo shall never be extinguished".
ACT THREE - The Phophecy - Scene I - The Hanging gardens in the Royal Palace in Babylon.
Abigaille, who has proclaimed herself queen, is seated on the throne to receive the homage of the nobles of the kingdom in the presence of the High Priest. Suddenly Nabucco appears in shabby clothes behaving in a deranged way and Abigaille tricks him into giving the royal seal to ratify the death sentence on all the Hebrew prisoners, including the converted Fenena. Nabucco, realizing the trick too late, protests and orders Abigaille to prostrate herself before him, threatening to reveal the details of her birth. He looks for the birth certificate but - laughing - Abigaille exhibits it in her hands, shows it to him, then tears it to pieces. She consigns the old king to the guards to be imprisoned. Nabucco, in despair, promises Abigaille that he will abdicate the throne in her favour if she grants pardon to Fenena. Abigaille, with a sardonic and scornful smile, refuses to do so.
ACT THREE - The Phophecy - Scene II - On the banks of the Euphrates.
The Hebrews, condemned to hard work, lament their "beautiful and distant motherland" and call on the Lord for help. Zaccaria encourages them with the solemn prophecy that wrathful vengeance is going to descend on Babylon.
ACT FOUR - The Broken Idol - Scene I - Apartments in the Royal Palace of Babylon.
Nabucco, waking from a heavy sleep full of nightmares, hears Fenena's name from the street. He runs to the balcony and backs away in terror and desperation on seeing his daughter bound in chains and escorted by soldiers, while all around her echo the cries of "Death!". In vain he tries to leave the palace, only to find himself a prisoner. Then he kneels down in prayer to implore mercy from the God of the Hebrews. The doors immediately open and a band of faithful guards enter he is no longer a poor madman, for they recognize him as the rightful King. With acclamations they unsheathe their swords and follow him to reclaim his crown and free Fenena.
ACT FOUR - The Broken Idol - Scene II - In the Hanging Gardens of the Royal Palace in Babylon.
Fenena has already been led with other Hebrews to the sacrificial altar erected in the Hanging Gardens, and the High Priest of Belo is about to carry out the sacrificial ceremony, when Nabucco and his followers enter. He orders the overthrow of the simulacrum of the God. The idol, even before being touched, falls to the ground and shatters into pieces. The Jews are liberated and Nabucco exhorts his people to bow before the great God of the Jews, Jehovah. Abigaille, defeated in every way, poisons herself and goes with two of her followers to where the slaughter should have been carried out. Before dying, she asks for her sister's forgiveness and puts the two lovers, Ismaele and Fenena under Nabucco's protection so that the King may allow their marriage and give them his blessing. She dies invoking the God of the Jews.
Dates and casts informations are courtesy supplied by Fondazione Arena Di Verona.
Conductor: Daniel Oren
Director: Franco Zeffirelli
Spanish Ballet: El Camborio and Lucia Real
Cast of Characters
Carmen: The beautiful gipsy girl who works in the cigarette factory
- Ildiko Komlosi (5, 10, 13, 15, 18/07)
- Marina Domashenko (25/07 - 5, 10, 15, 22, 27, 30/08)
Don José: A young military soldier
- Marco Berti (5, 10, 13, 15, 18, 25/07)
- to be announced (5, 10, 15, 22, 27, 30/8)
Frasquita:
- Cristina Pastorello (5, 10, 13, 15, 18, 25/07)
- Stefanna Kybalova (5, 10, 15, 22, 27, 30/08)
Micaela: Don José's girlfriend
Escamillo: Torero, in love with Carmen
- to be announced (5, 10, 13, 15, 18, 25/7)
- Marco Di Felice (5, 10, 15, 22, 27, 30/08)
Mercedes:
- Maria Nikolic (5, 10, 13, 15, 18, 25/07)
- Milena Josipovic (5, 10, 15, 22, 27, 30/08)
Duncairo:
- to be announced (5, 10, 13, 15, 18, 25/7)
- Nicolò Ceriani (5, 10, 15, 22, 27, 30/08)
Remendado:
- Gianluca Floris (5, 10, 13, 15, 18, 25/07)
- to be announced (5, 10, 15, 22, 27, 30/08)
Morales:
Setting: Spain in the middle of the XIX Century
ACT ONE - A square in Seville - Cigarette factory and barracks.
A young girl, Micaela, makes her way through the crowded square and approaches the guards, wishing to speak to her fiancé, Don José. Sergeant Morales asks her if she would like to wait, but she politely refuses: she will come back at the next changing of the guard which, judging by the sound of the military march, should be soon. The new squad files in with Don José, who confesses to Captain Zuniga that he is captivated by his sweet Micaela and is not at all interested in the lively girls who work at the cigarette factory. A bell announces the end of the shift at the factory, and the girls come out where they are met by a group of young men. Among them is Carmen, the beautiful gypsy girl who catches sight of Don José and boldly goes up to him singing. Noticing his indifference, she challenges him by dancing a vortical "Habanera" and throwing a red rose in his direction. In the meantime, Micaela comes in to give Don José news of his mother, who lives far away. When Micaela leaves Seville, promising to return soon, he pulls the rose out of his jacket and is about to throw it away when he is interrupted by the sound of a quarrel from the factory. Carmen is involved in yet another brawl and has injured a girl with a knife. Don José is given the task of restoring order and is forced to arrest Carmen. The gypsy girl, however, skilfully ensnares him with her flirting and manages to escape.
ACT TWO - Lillas Pastia's Inn
Though Lillas Pastià's Inn is a refuge for smugglers, it is also patronized by officers, soldiers and gypsies. Carmen, along with her friends Mercedes and Frasquita, sings and dances among a group of dragoons. Her most fervent admirer is Captain Zuniga. The ''torero'' Escamillo, winner of the Granada bullfight, also arrives at the Inn and is immediately attracted to Carmen. Just as the Innkeeper is about to close, two smugglers, Duncairo and Remendado enter. They often turn to Carmen for help with their trade, but this time she refuses. She is awaiting Don José, who was arrested for having let her escape and is about to be freed. In fact, as soon as he is liberated, he hurries to the Inn, where Carmen dances for him while playing the castanets. A bugle sounding the recall interrupts the dancing. Don José prepares to do his duty and return to the barracks, but Carmen stands in his way and tries to detain him. When Zuniga comes to the Inn looking for Carmen, Don José is overcome by jealousy and assaults the captain. The smugglers intervene and threaten Zuniga with their pistols. Don José has no choice but to follow Carmen and her friends.
ACT THREE - The Smugglers' Camp.
The smugglers' camp is situated strategically among wild precipices. Don José and Carmen are alone but their conversation is not of love. Carmen is already thinking of other suitors and her indifference accentuates Don José's jealousy. She consults the cards to read her own fortune and sees death, but she defies her fate. Micaela appears, trembling with fear, looking for Don José. She calls his name, but he does not answer. Suddenly a shot is heard, the girl runs away and Escamillo appears. He has just narrowly escaped being killed by José. The two rivals draw their knives and prepare to fight. José is about to strike the torero when Carmen intervenes and restrains him. While José furiously threatens Carmen, Remendado notices Micaela, who has come to tell José that his mother is dying and wishes to see her son for the last time. Despite José's initial reluctance, they all convince him to go and in the end he leaves with Micaela.
ACT FOUR - The square in front of the Arena in Seville.
The day of the bullfight the crowd is waiting in the square of Seville in front of the Arena, cheering the procession of ''toreodores'', ''alquazie'', ''picadores'', ''banderilleros'' and the ''espada'' Escamillo, who appears arm in arm with Carmen. Her friends Mercedes and Frasquita plead with her to run away, as Don José is spying on her. Carmen knows this, but nevertheless defies the danger. José appears, humbles himself before Carmen and begs her to start a new life with him. Escamillo's victory interrupts the bitter discussion. Carmen jubilantly rushes towards the torero. When José stops her, she brutally, cynically and openly declares her love for the torero. José, blinded by his mad passion, assaults her and stabs her in the heart. Carmen falls down dead. The crowd is a witness to and is shocked by the tragic scene. Don José falls on Carmen's body, cries out to her in desperation and lets himself be arrested.
Dates and casts informations are courtesy supplied by Fondazione Arena Di Verona.
Conductor: Paolo Carignani
Director: Ivo Guerra
Revival Director: Katia Pongiluppi
Stage Designer: Raffaele del Savio
Cast of Characters
The Duke of Mantua
Rigoletto: His court jester
Gilda: Rigoletto's daughter
Sparafucile: Hired assassin
Maddalena: Sparafucile's sister
Giovanna: Gilda's Governess
Count Monterone:
A Court Usher:
A Page:
ACT ONE - Scene I - The Ducal Palace in Mantua.
A crowd of lords and ladies in magnificent costume are taking part in festivities. The Duke confidentially reveals to his courtier Borsa his intention to seduce a beautiful girl he has met in church and whose name he still does not know. The Duke is a libertine and is merely indulging a whim, as he has done on many other occasions. He flirts with the Countess of Ceprano and, with the aid of his court jester Rigoletto, even makes fun of her husband. The festivities are at their height when the Count of Monterone accuses the Duke of dishonouring his daughter. However, everyone cries out at this disturbance; and as the Count is led away by two soldiers, he curses the jester for pouring scorn on a father's grief. Rigoletto feels the curse weigh heavily on his heart.
ACT ONE - Scene II - A lonely back street.
Later, when in a lonely back street Rigoletto meets the brigand Sparafucile, who offers his services as a hired assassin, he realizes that he himself is no better than that rascal. In a state of great agitation he returns home and affectionately greets his daughter Gilda, who begs him to tell her something about her dead mother. But this is a subject he finds too painful. And, as if struck by some sad premonition, he forbids his daughter to leave the house for any reason whatever, and orders the governess Giovanna to guard this precious creature. Nevertheless as soon as he has left the house, Giovanna betrays his trust and lets the disguised Duke of Mantua enter the courtyard in secret to have an impassioned encounter with Gilda, who is unaware of his true identity. The sound of footsteps forces the cynical wooer to retire, leaving the girl alone to dream of the false name her lover has told her. Rigoletto is ill at ease; as he hurriedly makes his way homewards in the darkness, he suddenly finds himself surrounded by a group of courtiers on their way to abduct the woman they believe to be the jester's lover. When they meet Rigoletto, they play a cruel trick on him: Marullo and Borsa hint that they intend to kidnap the Countess of Ceprano: Rigoletto is given no option but to join them, put on a mask and hold the ladder. Only too late does he realize that it is his own daughter they are abducting, and cries out in horror.
ACT TWO - The rooms of the Ducal Palace.
The Duke, who has just learned that Gilda has been abducted, is in a state of despair. He is already planning his revenge when his courtiers arrive and waggishly recount how they abducted Rigoletto's 'lover', who is none other than Gilda. The Duke is elated to hear that his latest prey is now safe in the Ducal palace, and makes haste to join her. A disconsolate Rigoletto then arrives. His appearance is greeted with derision by the courtiers. Overcome with suffering he confesses who the kidnapped woman really is, and begs them to return his daughter to him unharmed. He even tries to force his way into the Ducal apartments but meets strong resistance from the courtiers, whom he violently abuses. After another desperate attempt, Gilda herself finally appears and throws herself into her father's arms. In tears she tells him of the outrage she was subjected to. When the courtiers leave the room, the wretched girl tells her father how she innocently fell in love with the Duke. Rigoletto's anguish knows no bounds and, as the Count of Monterone is being led away to prison, he furiously proclaims that there shall be vengeance.
ACT THREE
Gilda and her father are together at a deserted spot along the banks of the River Mincio outside the city, near a dilapidated house where Sparafucile has set up a tavern. Gilda is still in love with the Duke. In order to cure her of her passion, Rigoletto has brought her to this disreputable place, where the Duke is soon expected to arrive in disguise and order from the innkeeper some good wine and a room. The Duke sings a song that expresses his philosophy of love, and starts to flirt with Maddalena, Sparafucile's sister. Unseen, Gilda looks on in despair. To comfort her, her father tells her he is about to wreak vengeance, so he presses her to make haste to Verona, in male clothing so as not to attract attention. As soon as she has gone, Rigoletto engages Sparafucile to murder the Duke. This time, however, Maddalena refuses to look on while her brother does his dirty work. She has taken a liking to the unknown gentleman staying at the tavern. A storm is brewing. Eventually Sparafucile gives in to his sister's passionate pleading and agrees to kill the first person to appear at the tavern in the Duke's stead. Gilda, who has returned and overheard their conversation decides to sacrifice her own life for her unfaithful lover. Her intentions are then accomplished in the darkness of the tavern. The clock strikes midnight. The storm is dying down and Rigoletto returns to collect his due. Sparafucile, after collecting his fee consigns to the jester a bloody sack, adding that the body must be immediately thrown into the river. Rigoletto wants to be alone. His moment of triumph suddenly turns to panic when he hears the voice of the Duke singing his song from the tavern. He tears the sack open and, in a flash of lightning, recognizes his mortally wounded daughter. As she dies, she begs her father's forgiveness. Rigoletto, in a frenzy, is left to cry out at the curse.
Dates and casts informations are courtesy supplied by Fondazione Arena Di Verona.
News Stage Design
Cast of Characters
Juliette:
Romeo: His court jester
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