Organization

Sänger

Sopran

Carmela Remigio

Antonina

Mezzosopran

Annalisa Stroppa

Irene

Bariton

Roberto Frontali

Belisario

Bass

Simon Lim

Giustiniano

Tenor

Celso Albelo

Alamiro

Anaïs Mejías

Eudora

Klodjan Kaçani

Eutropio

Dirigat

Riccardo Frizza

Chordirektion

Fabio Tartari

Stefano Gentili

Eusebio

Fondazione Teatro Donizetti

Others

Coro Donizetti Opera

Orchestra

Orchestra Donizetti Opera

Piermarco Viñas Mazzoleni

Un centurione

Matteo Castrignano

Ottario

After his first experience in Paris, the opera Belisario  (1836) marks Donizetti to Venice, giving him the opportunity "to see the city again, where I started my musical career either better or badly", as he himself observed.

A friend who had not seen him since the time of Peter the Great (for 16 years, therefore) found him "beautiful and robust perhaps more than then". He had not become such only in build. From the time of his first experiences, carried out in the comic genre and under the influence of Rossini, he had acquired his own style, in step with the new times and therefore especially in the serious field: indeed, in dramas with strong colors, romantic or classical that were the scripted matter. And «lyrical tragedy» is Belisario , on a much appreciated libretto by Salvadore Cammarano, full of passions and situations that have roots in the great classical heritage, echoing the troubles of Oedipus and the dark family events of the Atrides.

The part of the protagonist was particularly striking, as one reviewer wrote: "very interesting for the public, moving and full of expression and sentiment", the parable of a hero who falls from triumph to ruin without losing that greatness of soul that will lead him to the final, tragic redemption.

Belisario Donizetti

Public

Belisar

Genehmigt

Programmheft der Produktion

Weiterführende Literatur