Dyrygent

Andrew Greenwood

Todmorden

United Kingdom

Artist

Approved

2023

2020

2019

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

2003

2002

2001

2000

1999

1998

1997

1996

Individual contributor id

include virtual contributors

Watch the William Tell trailer

• Maria de Rudenz has been described as ‘perhaps the darkest of Donizetti’s tragedies’, which is saying something and may account in part for the opera’s long-standing neglect. It tells the story of how Maria falls in love with Corrado against her father’s wishes and flees with him to Venice. In Venice, Corrado abandons her and heads back to the Rudenz family castle, falling in love this time with Maria’s cousin, Matilde di Wolf. Maria returns to the castle and discovers that her lover is not only going to marry her cousin but is also, in fact, the son of a murderer. On the wedding day of Matilde and Corrado, Maria appears and reveals Corrado’s secret, murders Matilde and commits suicide.  First performed at La Fenice in Venice in 1838, Maria de Rudenz comes in the sequence of Donizetti’s 70 or so operas between Roberto Devereux and Poliuto and is thus a work of the composer’s full mastery. Its unsuccessful premiere may have been one reason Donizetti was quick to rearrange the first-act finale for Poliuto (Wexford patrons who saw that opera at Glyndebourne last summer will perhaps recognise some of the music). As so often with Donizetti, this score has its own tinta, or colour, something most noticeable in the long bass clarinet solo in the prelude to Act 2.  The first modern staging of Maria de Rudenz was given, again at La Fenice, in 1980, and it still awaits a full production in both the United Kingdom and the United States. This autumn’s Irish premiere is the latest in a series of important Donizetti revivals at Wexford, which has played a major role in what remains an ongoing Donizetti renaissance. It is surely no coincidence that Wexford Festival Opera’s lifetime has overlapped with Donizetti’s reversal of fortune – the composer who 65 years ago was all but written off as intellectually disreputable has now regained his rightful place in the operatic canon.

Maria De Rudenz Interviews with Highlights - Wexford Festival Opera 2016

Don Giovanni

La Périchole

Maria Padilla

Die lustigen Weiber von Windsor

Roberto Devereux

Der Wildschütz

Lucrezia Borgia

Die Hochzeit des Camacho

Luisa Miller

Idomeneusz

Maria di Rohan

Mignon

William Tell

Traviata

Cyganeria

Anna Boleyn

Śpiewak

Aida

Amonasro

Napój miłosny

Così fan tutte

Czarodziejski flet

Manon

Przygody Lisiczki Chytruski

Werther

Poławiacze pereł

Wesele Figara

Kopciuszek

Fidelio

Córka pułku

Macbeth

Carmen

The Rake's Progress

Wile

Rycerskość wieśniacza

Adriana Lecouvreur

Attila

Medea

Christina Regina di Svezia

Trubadur

Turandot

Uprowadzenie z Seraju

Jérusalem

Sen Nocy Letniej

Maria de Rudenz

Albert Herring

Moralès

Le Dancaïre

Tosca

Cesare Angelotti

Rigoletto

Il Conte di Monterone

La Voce

Il barone Douphol

Zuniga

Cesarz Atlantydy

Kaiser Overall

La vie parisienne

Dialogy Karmelitek

La Gioconda

Barnaba

Don Alfonso

Andrew Greenwood

Udział w spektaklu

Polecane występy z przeszłości

Polecane filmy z występami

Dowiedz się więcej o: Andrew Greenwood