Organization

Opernhaus Zürich

Direction d'orchestre

Patrick Hahn

Mise en scène

Barrie Kosky

Décors

Klaus Grünberg

Lumières

Costumes

Gianluca Falaschi

Chorégraphie

Kim Duddy

Direction de choeur

Ernst Raffelsberger

Dramaturgie

Fabio Dietsche

Chanteur

Baryton

Martin Winkler

Baron Mirko Zeta

Soprano

Katharina Konradi

Valencienne

Michael Volle

Prince Danilo Danilowitsch

Marlis Petersen

Hannah Glawari

Ténor

Andrew Owens

Camille de Coutançon

Omer Kobiljak

Vicomte Cascada

Nathan Haller

Raoul de Saint-Brioche

Valery Murga

Bogdanovitch

Chao Deng

Kromow

Mezzo-soprano

Ann-Kathrin Niemczyk

Olga

Andrew Moore

Pritschitsch

Liliana Nikiteanu

Praskowia

Others

Chor der Oper Zürich

Orchestra

Philharmonia Zürich

Maria Stella Maurizi

Sylviane

Rôle parlant

Barbara Grimm

Njegus

Assistant Set Designer

Anne Kuhn

Anastasiya Taratorkina

Sophie Mitterhuber

Eleazar Rodríguez

allemand

Die lustige Witwe -  (La Veuve joyeuse)

Zurich

Suisse

Opernhaus

Die lustige Witwe Lehár

Public

La Veuve joyeuse

anglais

Valide

«Körperbetont im Spielstil, rasant im Tempo, lustvoll in der Ausstattung», befand die Süddeutsche Zeitung nach der Premiere der «Lustigen Witwe» letzten Sonn...

The Merry Widow
Franz Lehár's operetta The Merry Widow was staged in Vienna for the first time in 1905 and within a short period of time triggered an unprecedented, worldwide operetta fever. In New York, the enthusiasm soon spilled over into everyday life: People wore Merry Widow hats, smoked Merry Widow cigars and sipped Merry Widow cocktails. The seething cities of the early 20th century offered the ideal breeding ground for such a commercial cult of operettas, and the philosopher Theodor W. Adorno compared the hustle and bustle surrounding The Merry Widowwith the success of the then emerging department stores. As if in a shop window, Lehár's operetta offers everything the heart desires for the light muse - from the catchy hit to the folkloric tune and from the frivolous cancan to the sentimental waltz duet. The plot itself also takes the audience into an illusionary world of love and monetary happiness: the rich widow Hanna Glawari is swarmed by Parisian men. Meanwhile, Mirko Zeta, ambassador of the heavily indebted state of Pontevedro, worries that the widow could lose her heart and her millions to a Frenchman, and puts the bon vivant Danilo on her. But Hanna and Danilo don't want it to appear that their connection is all about money and take their time. From today's perspective there is no doubt thatMerry widow also senses the approaching decline of the bourgeois world, political conflicts and the threat of inflation.
The director Barrie Kosky, who has revived the operetta genre in recent years at the Komische Oper in Berlin with numerous original productions, will be working on an operetta at the Zurich Opera House for the first time with The Merry Widow . With Marlis Petersen and Michael Volle, two outstanding vocal and acting personalities play the central roles. The young, highly talented Austrian Patrick Hahn conducts the Zurich Philharmonia.

English

La Veuve joyeuse by Lehár, Du (2024/2024), Dirigé par Barrie Kosky,, Chef d'orchestre Patrick Hahn, Opernhaus, Zurich, Suisse

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage

Ensemble

Programme, À Propos & Synopsis

Vidéos

Photos

Lectures complémentaires

Dates et lieux de représentation

Salles