Organization

Conductor

Ivo Lipanović

Stage director

Petar Selem

Set designer

Ivo Knezović

Costume designer

Dora Argento

Choreographer

Antun Marinić

Lighting designer

Zoran Mihanović

Chorus master

Ana Šabašov

Soprano

Svetla Vassileva

Luisa

Adela Golac Rilović

Bass

Ivica Čikeš

Count Walter

Tenor

Branko Robinsak

Rodolfo

Contralto

Martina Tomčić

Federica

Žana Marendić Bučević

Ante Jerkunica

Wurm

Baritone

Paolo Coni

Miller

Alen Ruško

Mezzo-soprano

Nera Gojanović Kljajić

Laura

Saša Jakelić

A farmer

HNK Split

Others

HNK Split Choir

Orchestra

HNK Split Orchestra

Luisa Miller

Split

Croatia

Luisa Miller Verdi

Public

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Dancer

Actor

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Bass-baritone

Singer

Countertenor

Spoken

Child vocalist

Silent

Alto

Continuo

After adventures with style in Machbeth and French-inspired operas from the late 1840-ies, Verdi returned to the main stream of Italian melodrama, but on a higher level of sophistication and expressiveness. Composing Luisa Miller to Schiller’s pattern, Verdi achieved more than an impressive opera which was admired but seldom put on repertoire. Perhaps the very Luisa Miller was a turning point in Verdi’s shaping of such musical forms which would strictly serve the purpose of drama, being less and less dependent on inherited operatic conventions. This is revealed not only in the way duets are shaped or in the simple but fascinating eloquence of choirs, but also in the repetition of theme which, however disguised it may be, invades again and again like a symbol of fate destroying the happiness of those who love each other.

English

Nakon stilskih pustolovina Machbetha i opera s francuskom inspiracijom iz kasnih 1840-ih, Verdi se vratio glavnoj struji talijanske melodrame, ali na višoj razini sofisticiranosti i izražajnosti. Radeći Luisu Miller prema Schillerovom predlošku, Verdi je napravio više nego dojmljivu operu, koja je uvijek bila predmet divljenja premda je teško zadobivala ono repertoarno mjesto koje objektivno zaslužuje. Možda je upravo Luisa Miller prekretnica u Verdijevom definitivnom uobličavanju takvih glazbenih formi koje bi strogo odgovarale dramskoj svrsi, a sve manje bile podložne naslijeđenim opernim konvencijama. To se podjednako očituje u načinu na koji su oblikovani dueti, u jednostavnoj, ali očaravajućoj elokvenciji zborova, a isto tako i u ponavljanju od uvertire prisutne teme, koja, kako god bila prerušena, uvijek iznova nadire poput simbola kobne sudbine što uništava sreću onih koji se vole.

hrvatski

Luisa Miller by Verdi, De la (2005/2005), Regizat de către Petar Selem,, Dirijor Ivo Lipanović, HNK, Split, Croatia

Creditele spectacolului (Distribuție și Echipa )

Distribuție

Echipajul

Ansamblu

Program, Despre și Sinopsis

Fotografii

Lectură în continuare

Date și locuri de spectacol

Locații