Organization

Tiroler Festspiele Erl

Singer

Bass

Attila Mokus

Priuli

Tenor

Bruce Sledge

Contareno

Contralto

Beth Taylor

Falliero

Michael Petruccelli

Un cancelliere del Consiglio dei Tre

Ein Kanzler/Ein Offizier/Ein Gerichtsdiener

Conductor

Giuliano Carella

Simone Di Felice

Stage director

Tilmann Köhler

Set designer

Karoly Risz

Costume designer

Susanne Uhl

Lighting designer

Joachim Klein

Dramaturge

Zsolt Horpácsy

Soprano

Heather Phillips

Bianca

Theo Lebow

Giovanni Battista Parodi

Capellio

Božidar Smiljanić

Carlos Andrés Cárdenas

Maria Ostroukhova

Others

Chor der Tiroler Festspiele Erl

Orchestra

Orchester der Tiroler Festspiele Erl

itaalia

Bianca e Falliero -  (Bianca and Falliero)

Weinzierl bei Krems

Austria

Festspielhaus

Bianca e Falliero Rossini

Public

Private

Bianca and Falliero

Approved

A city strives for world power, it uncovers conspiracies of spying ambassadors, defeats its enemies and isolates itself for fear of threats. Behind its high walls, the megalomaniac dwarf state suppresses all forms of individuality, feelings 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 and is one of his delightful 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 warring 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 her love. Bianca is mercilessly abused as a hostage of the family feud. Falliero, the victorious defender of the state, returns from the war just as a forced marriage between Bianca and Capellio is about to be concluded. The conflicts are inevitable, Bianca's ordeal between love of the father as the original bond and the promised devotion to the beloved gave Rossini the opportunity to expand his vocal and orchestral means of expression. Not least because of the high vocal demands, the opera could not prevail during the composer's lifetime. It was not until 1986 that the work was rediscovered and revealed its extraordinary Bianca is mercilessly abused as a hostage of the family feud. Falliero, the victorious defender of the state, returns from the war just as a forced marriage between Bianca and Capellio is about to be concluded. The conflicts are inevitable, Bianca's ordeal between love of the father as the original bond and the promised devotion to the beloved gave Rossini the opportunity to expand his vocal and orchestral means of expression. Not least because of the high vocal demands, the opera could not prevail during the composer's lifetime. It was not until 1986 that the work was rediscovered and revealed its extraordinary Bianca is mercilessly abused as a hostage of the family feud. Falliero, the victorious defender of the state, returns from the war just as a forced marriage between Bianca and Capellio is about to be concluded. The conflicts are inevitable, Bianca's ordeal between love of the father as the original bond and the promised devotion to the beloved gave Rossini the opportunity to expand his vocal and orchestral means of expression. Not least because of the high vocal demands, the opera could not prevail during the composer's lifetime. It was not until 1986 that the work was rediscovered and revealed its extraordinary The conflicts are inevitable, Bianca's ordeal between love of the father as the original bond and the promised devotion to the beloved gave Rossini the opportunity to expand his vocal and orchestral means of expression. Not least because of the high vocal demands, the opera could not prevail during the composer's lifetime. It was not until 1986 that the work was rediscovered and revealed its extraordinary The conflicts are inevitable, Bianca's ordeal between love of the father as the original bond and the promised devotion to the beloved gave Rossini the opportunity to expand his vocal and orchestral means of expression. Not least because of the high vocal demands, the opera could not prevail during the composer's lifetime. It was not until 1986 that the work was rediscovered and revealed its extraordinary
Qualities.
Zsolt Horpácsy

English

"Eine Stadt strebt die Weltmacht an, sie deckt Verschwörungen von spionierenden Botschaftern auf, besiegt ihre Feinde und isoliert sich aus Angst vor Bedrohung. Hinter seinen hohen Mauern unterdrückt der größenwahnsinnige Zwergstaat jegliche Form von Individualität, Gefühlen und Liebe. Das menschenverachtende System erstarrt. In dieser bedrückenden Atmosphäre spielt das Familiendrama „Bianca e Falliero“, Rossinis letzte für die Mailänder Scala geschriebene Oper, die zu seinen reizvollen, doch – zu Unrecht – selten gespielten Werken gehört. Der Librettist Felice Romani verbindet eine Spionage-Story mit einer Variante der Geschichte von Romeo und Julia, wobei sich die verfeindeten Familien diesmal in einem langjährigen Erbstreit befinden. Bianca, die Tochter des Senators Contareno, liebt heimlich den General Falliero, doch die politischen und finanziellen Interessen ihres Vaters bedrohen ihre Liebe. Bianca wird gnadenlos als Geisel der Familienfehde missbraucht. Falliero, der siegreiche Verteidiger des Staates, kehrt in dem Moment aus dem Krieg zurück, als eine Zwangsehe Biancas mit Capellio geschlossen werden soll. Die Konflikte sind vorprogrammiert, die Zerreißproben Biancas zwischen der Vaterliebe als  ursprünglicher Bindung und der versprochenen Hingabe an den Geliebten gaben Rossini Gelegenheit zur Erweiterung seiner vokalen wie orchestralen Ausdrucksmittel. Nicht zuletzt wegen der hohen vokalen Ansprüche konnte sich die Oper zu Lebzeiten des Komponisten nicht durchsetzen. Erst 1986 wurde das Werk wiederentdeckt und offenbarte seine außergewöhnlichen Qualitäten."
Zsolt Horpácsy

Deutsch

Etenduse krediiti (Näitlejad ja meeskond )

Osades

Meeskond

Ansambel