Admin

Staatsoper Hannover

Orchestra

Niedersächsisches Staatsorchester Hannover

Maestro

Masaru Kumakura

Diretor de Palco

Diretor de Palco (+2)

Dirk Schmeding

Cenógrafo

Cenógrafo (+1)

Ralf Käselau

Estilista

Pascal Seibicke

Designer de Iluminação

Johannes Paul Volk

Mestre de Coro

Mestre de Coro (+1)

Lorenzo Da Rio

Barítono (+2)

Daniel Scofield

Tonio

Mario Hartmuth

Tenor

Viktor Antipenko

Canio

Opernhaus

Vídeo

Vídeo (+1)

Philipp Contag-Lada

Dramaturgo

Theresa Steinacker

Coreógrafo

Coreógrafo (+3)

Annika Dickel

Chorus

Chor der Staatsoper Hannover

Extras

Tenor (+1)

Paweł Brożek

Beppe

Intérprete De Teatro Musical

Alexander Bohnhorst

Artist

Soprano

Barno Ismatullaeva

Nedda

Zipporah Raskop

Barítono (+1)

Henri Tikkanen

Primeiro camponês

Eungdae Han

Segundo camponês

Barítono (+3)

Darwin Prakash

Silvio

Tenor (+2)

Bogdan Secula

Soprano (+1)

Ani Yorentz Sargsyan

Angelina Kuhnert

Lluís Calvet i Pey

Cantor

Jongsoo Ko

Philipp Kapeller

Great Italian drama. A stage full of “real life”, with theatrically created, convincing reality: sobs, rattling, crying, transformation, exhaustion, a gripping thriller, garnished with a charming, sweet “bell choir” and a real fight for the best view of the village theater , which becomes the scene of a bloody tragedy. The Bajazzo is a big, glittering, shimmering, escalating show that piles up all the advantages of Italian opera - until everything collapses at the end and only one thing remains: the unvarnished finale. And that should be really close to real life.

Love and hate, jealousy and revenge end in a short-circuit action: a double murder on the open stage. The reality of life breaks into art and explodes the theatrical performance. Under the eyes of a breathlessly tense, shocked and ultimately deeply pity-stricken stage and hall audience, the circus clown and betrayed husband Canio, the person behind the comedian, experiences his theatrical downfall. “La Commedia è finita!” – the comedy is over.

The stage atmosphere of a glorified “artistic world” veils everything with a good dose of melancholy. A person who is deeply wounded and is basically just a clown confesses in a self-pitying oath of revelation the futility of all striving and the fulfillment of personal desires.

Verismo, realism, is the name of the “musical fashion” with a connection to local, Italian life, which was intended to attract new opera audiences to Italian city theaters at the end of the 19th century. The Bajazzo is also a “work of art”, a piece of design. New, comprehensible (everyday) stories were fused with catchy to dramatic music for the theater and were aimed directly at the audience's taste, at the venal sensationalism of a new audience. “People pay and they want to laugh in return…” – this is both an expression of the main character’s professional ethics and personal torment. The previously unknown Ruggero Leoncavallo wrote

the realistic text and the effective music for Der Bajazzo in just five months. “An artist who is human and writes for people” jumped on the Verismo bandwagon that was rolling powerfully through Italy with this two-act play. The opera became his masterpiece, a worldwide success to this day - also thanks to excellent, impressive and emotionally effective parts for the vocal cast.

Our new production, with some performances, is part of the new after-work series with an early start and an early end, so that even during the week there is still room for reflection at the bar after the performance. Leoncavallo doesn't need Wagnerian lengths to impress his audience. In a short two acts and 75 minutes, it offers opera beginners and people with little time a large portion of Italian opera.

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