Organization

Luci

Joachim Klein

Costumi

Susanne Uhl

Video

Marlene Blumert

Direzione del coro

Tilman Michael

Cantante

Contralto

Maria Ostroukhova

Falliero

Regia

Tilmann Köhler

Direzione d'orchestra

Giuliano Carella

Scenografia

Karoly Risz

Drammaturgia

Zsolt Horpácsy

Basso

Božidar Smiljanić

Priuli

Tenore

Theo Lebow

Contareno

Kihwan Sim

Capellio

Beth Taylor

Soprano

Heather Phillips

Bianca

Carlos Andrés Cárdenas

Un cancelliere del Consiglio dei Tre

Oper Frankfurt

Others

Choir of the Frankfurt Opera

Orchestra

Frankfurter Opern- und Museumsorchester

italiano

Bianca e Falliero

Francoforte

Germania

Opernhaus

Bianca e Falliero Rossini

Public

tedesco

inglese

Approvato

»Bianca e Falliero« von Gioachino Rossini

A city strives for world power, it uncovers conspiracies, defeats its enemies and isolates itself for fear of threats. Behind its walls, the miniature state of Venice suppresses every form of individuality and love. The inhuman system freezes.

The family drama Bianca e Falliero , Rossini's last opera written for La Scala in Milan, is set in this oppressive atmosphere. It is one of his charming but - wrongly - rarely performed works. The librettist Felice Romani combines an espionage story with a variant of the story of Romeo and Juliet, with the feuding families this time in a long-standing inheritance dispute.

Bianca, the daughter of Senator Contareno, secretly loves General Falliero, but her father's political and financial interests threaten their love. Bianca is mercilessly used as a hostage in the family feud. Falliero, the defender of the state, returns from the war just as Bianca is about to be forced into a marriage with Capellio. The conflicts are inevitable, Bianca's ordeal between fatherly love as the original bond and the promised devotion to the beloved gave Rossini the opportunity to expand his means of expression.

This time the virtuoso coloraturas are far removed from any bel canto acrobatics. The decorative art in the large-scale scenes of the protagonists serves as a stylistic device in the depiction of a four-way conflict. This bold concept in shaping the vocal parts was Rossini's Semiseria's undoing. Not least because of the high vocal demands, the opera was not able to establish itself during the composer's lifetime. It was only rediscovered in 1986 in Rossini's native town of Pesaro and revealed its extraordinary qualities.

English

Crediti di rappresentazione (Cast e team di produzione )

Cast

Team creativo

Ensemble