Name: Ascanio in Alba
Start: 2006-08-03T00:00:00.000Z
End: 2006-08-05T00:00:00.000Z
Location: Landestheater

Organization

Dirección orquestal

Adam Fischer

Soprano

Iris Kupke

Venere

Mezzosoprano

Sonia Prina

Ascanio

Marie-Belle Sandis

Silvia

Tenor

Charles Reid

Aceste

Contratenor

Diana Damrau

Fauno

Cantante

Christian Banzhaf

Voyager I

Lilly Tschörtner

Voyager II

Diseño de vestuario

Christof Hetzer

Escenografía

Salzburger Festspiele

Nationaltheater Mannheim

italiano

Ascanio in Alba -  (Ascanio en Alba)

Salzburgo

Austria

Landestheater

Milan 1771: In March, Leopold Mozart proudly reports on the commission from Empress Maria Theresia, which "will give our son an immortal honour": Wolfgang is to compose a festival play for Archduke Ferdinand's wedding to Maria Beatrix von Este!

The challenge is all the greater as the young Mozart has to fear fierce competition from other commissioned works. The work on this work, based on a libretto by Giuseppe Parini, took just two months. Despite the short processing time, the 15-year-old composer achieves the highest social fame and honor at the Habsburg court with "Ascanio in Alba".

The plot: In a mythical landscape, the goddess Venus announces to her son Ascanio that he will soon become ruler of the newly emerging city of Alba and also marry the beautiful nymph Silvia. Before that he is allowed to see his bride, but not to reveal himself in order to test her virtue. Thanks to Cupid, however, Silvia has been dreaming of a stranger for many years, although she is promised to Ascanio. Little does she know that her dream prince is Ascanio. When Silvia sees the unknown lover and Ascanio does not identify herself, she flees so as not to endanger her virtue, since she is supposedly promised to someone else. Venus finally clarifies the identity of her son and brings together the lovers who are to make their country and gender happy and famous.

The protagonists of this Festa teatrale, behind whom the Austrian empress, the archduke and his bride can easily be recognized, do not remain distant allegorical beings, but have human traits; the music leaves the framework of magnificent, baroque representation and shows courage for sensitivity and intimacy.

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