Name: Il castello di Kenilworth
Start: 2018-11-24T00:00:00.000Z
End: 2018-12-02T00:00:00.000Z
Location: Teatro Sociale

Admin

Organization

Donizetti Opera

Cantor

Soprano

Jessica Pratt

Elisabetta

Carmela Remigio

Amelia

Tenor

Xabier Anduaga

Leicester

Francisco Brito

Stefan Pop

Warney

Baixo

Dario Russo

Lambourne

Mezzo-soprano

Federica Vitali

Fanny

Maestro

Riccardo Frizza

Diretor de Palco

Maria Pilar Pérez Aspa

Cenógrafo

Angelo Sala

Estilista

Ursula Patzak

Designer de Iluminação

Fiammetta Baldiserri

Mestre de Coro

Fabio Tartari

Costume Assistant

Nika Campisi

Assistant Director

Federico Bertolani

Fondazione Teatro Donizetti

Others

Coro Donizetti Opera

Orchestra

Orchestra Donizetti Opera

italiano

Il castello di Kenilworth

Bérgamo

Itália

Teatro Sociale

Kenilworth Castle was performed at the San Carlo in Naples on 6th July 1829. Tottola’s libretto referred to a novel by Walter Scott, Kenilworth (1821), through a variety of mediations that somehow created distance between the libretto and its source: the first was Leicester or Le Château  de Kenilworth by Scribe and Auber (1823), the second was a comedy by Gaetano Barbieri (1824) from which Tottola also drew the Italian title of his libretto. These two versions gave Tottola his happy ending, with Queen Elisabeth I pardoning her beloved Leicester after he had secretly married the young Amy Robsart (in Scott’s novel, Amy died at the evil hand of Varney).

Kenilworth Castle, the first opera with two counter-posed female roles, marked the beginning of the “English-themed operas” and, after Anne Boleyn, the so-called “Elisabethan” ones: Mary Stuart and Robert Devereux. These anticipatory traits highlight the role that Kenilworth Castle played in bringing the Teatro Donizettiano from classic drama to romantic drama and the definitive  end of the Rossini model which can still however be perceived today. Riccardo Frizza, musical director of the Donizetti Opera Festival, will lead a stellar international cast and the audience on a journey to discover this “legendary” opera by the Bergamo-born composer.

Il castello di Kenilworth by G.Donizetti, from Festival Donizetti Bergamo, performed at Teatro Sociale, Bergamo, 2019. Directed by Maria Pilar Pérez Aspa, conductor Riccardo Frizza, starring Jessica Pratt, Carmela Remigio, Stefan Pop, Dario Russo, Xabier Anduaga, Frederica Vitali. Performed in Italian and subtitled in English, German, French, Italian and Korean.

ACT ONE 

Elizabeth I, Queen of England, is visiting Kenilworth Castle, home of the Earl of Leicester secretly married to Amelia, torn between his love for Amelia and the attention that the Queen reserves for him.  Being the queen's favorite would pave the way for him to ascend the throne, an idea that stimulates great ambition in him.  Amelia is therefore hidden from Elizabeth's sight, a task that Lambourne, servant of the squire Warnery, should take care of, who secretly desires her and tries to conquer her by deceiving her.  When the queen arrives, Leicester asks Warney if he has completed his task, then accompanies the queen and the whole court, inside the castle. 


SECOND ACT 

Leicester is not slow to feel remorse nor Amelia to feel jealousy for Elizabeth and his reassurances and declarations of love do not calm her agitation.  Warney, rejected by the woman, plots to kill her and gives Lambourne a dagger to carry out her crime;  Meanwhile, Amelia meets the queen, reveals her marriage to Leicester and sends her into a rage against her.  Leicester and Warney return from a hunting trip but at that point the only prey is Amelia: she is captured by the Queen's guards. 


ACT THREE 

Warney again makes demands on the woman as the Queen pretends to believe that Amelia is Warney's wife and that Leicester's allegiance is intact, spying on the Earl's reactions.  Leicester reiterates that he does not want to give up Amelia for which he would also be willing to accept her death, just not to abandon her.  Elizabeth unleashes her thirst for revenge in her fury;  Amelia manifests her disappointment to her damsel Fanny by recalling her happy moments, when Warney and Lambourne arrive with a cup in their hand: it is poison and Fanny yells at Amelia not to drink it.  Leicester first arrives, then Elizabeth, who has regained the control that befits her royal dignity: Amelia is freed from captivity and Leicester is forgiven. 


Overview 

ACT ONE 

Elizabeth I, Queen of England, is visiting the Castle of Kenilworth, where Count Leicester, who is secretly married to Amelia, lives. The Count is torn between his love for Amelia and the Queen’s attentions. As the Queen’s favorite he would have an open door to the throne, and the idea stimulates his ambitions. Amelia therefore needs to be hid from Elizabeth, and the task is placed on Lambourne, a servant of the esquire Warney, who secretly longs for Amelia and tries to win her by deception. Upon the arrival of the Queen, Leicester asks Warney whether he has fulfilled his duty, and proceeds to lead the Queen and the entire court into the castle. 


ACT TWO 

Leicester is soon remorseful and Amelia is jealous of Elizabeth, and his declarations of love don’t ease her frustration. Warney, who has been refused by the woman, vows to kill her and hands Lambourne a dagger for the purpose. Amelia meets the Queen and reveals that she is married to Leicester, thus infuriating Elizabeth. Leicester and Warney return from a hunting trip to find the only captured prey is Amelia, who has been arrested by the Queen’s guards. 


ACT THREE 

Warney again tries to win the woman. The Queen pretends to believe Amelia is Warney’s wife, and that Leicester is still trustworthy, to secretly spy the Count’s reactions. Leicester once more explains he is not willing to abandon Amelia, and that he is ready to give up his life for her. Elizabeth vows revenge. Amelia tells her servant Fanny of her disappointment while remembering her past happiness. Warney and Lambourne appear bringing a cup: it contains poison and Fanny cries to Amelia not to drink it. Leicester appears, followed by the Queen who has regained her regal composure. Amelia is freed, and Leicester is forgiven.

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