Name: Francesca da Rimini
Start: 2021-03-14T00:00:00.000Z
End: 2021-03-14T00:00:00.000Z
Location: Deutsche Oper Berlin

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Organization

Soprano

Sara Jakubiak

Francesca da Rimini

Lexi Hutton

Samaritana

Baritone

Samuel Dale Johnson

Ostasio

Ivan Inverardi

Giovanni lo Sciancato

Tenor

Jonathan Tetelman

Paolo il Bello

Charles Workman

Malatestino dall'Occhio

Meechot Marrero

Biancofiore

Mané Galoyan

Garsenda

Mezzo-soprano

Arianna Manganello

Altichiara

Karis Tucker

Adonella

Andrew Dickinson

Ser Toldo Berardengo

Bass

Dean Murphy

Il giullare

Patrick Cook

Il balestriere

Conductor

Carlo Rizzi

Stage director

Christof Loy

Set designer

Johannes Leiacker

Costume designer

Klaus Bruns

Lighting designer

Olaf Winter

Chorus master

Jeremy Bines

Dramaturge

Dorothea Hartmann

Contralto

Amira Elmadfa

La Schiava

Thomas Lehman

Il Torrigiano

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Others

Choir of the Deutsche Oper Berlin

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Berlin

Germany

Die Tischlerei

A live stream from the Deutschen Oper Berlin: Christof Loy, one of music theater's most meticulous directors, stages Riccardo Zandonai's opulent Francesca da Rimini.It's a story of forbidden love, sibling rivalry and two murders. Zandonai, celebrated in his day as a rival to Puccini, composed this bloody episode from Dante's Divine Comedy as a kind of Tristan and Isolde remake stationed somewhere between verismo and impressionism. The acclaimed Sara Jakubiak sings the title role, and Carlo Rizzi conducts.

Francesca da Rimini by R. Zandonai, from and performed at Deutsche Oper Berlin, 2021. Director Chistof Loy, conductor Carlo Rizzi, starring Sara Jakubiak, Alexandra Hutton, Samuel Dale Johnson, Ivan Inverardi, Jonathan Tetelman, Malatestino dall'Occhio, Meechot Marrero, Mané Galoyan, Arianna Manganello, Karis Tucker and Amira Elmadfa. Performed in Italian.

Riccardo Zandonai’s Francesca da Rimini is a four-act opera set during the Renaissance period. The plot concerns an arranged marriage between Francesca and Giovanni, also known as Gianciotto, who is impersonated by his handsome brother Paolo, and with whom Francesca falls passionately in love. Sometimes referred to as the ‘Italian Tristan’, the opera ends in betrayal and a double murder. The production of this rarely performed opera from the Deutsche Oper Berlin proved to be a huge critical success.

Francesca da Rimini Zandonai

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Approved

In 2018, Christof Loy brought Erich Wolfgang Korngold's THE MIRACLE OF HELIANE to the stage of the Deutsche Oper Berlin together with Marc Albrecht on the podium and Sara Jakubiak in the title role - a production that received two awards: as "Rediscovery of the Year 2018" by the Magazine "Opernwelt" and the DVD recording of the label NAXOS with the OPUS KLASSIK as the best "opera recording 20./21. Century".

Now follows another collaboration between Christof Loy and Sara Jakubiak for Riccardo Zandonai's FRANCESCA DA RIMINI. Here, too, the focus is on the psychogram of a self-confident, nonconformist woman who eludes all moral and social constraints.

Riccardo Zandonai, born in 1883, was a student of Mascagni and around 1910 was considered the new star in the Italian opera sky. His publisher Tito Ricordi planned a similar success story with him as his father Giulio Ricordi had planned with the young Puccini a generation earlier. Ricordi spared no expense or effort and acquired the exorbitantly expensive rights to one of the scandalous pieces of the time for the new opera Zandonais: Gabriele D'Annunzio's five-act drama "Francesca da Rimini", premiered in Rome in 1901 with Eleonora Duse in the title role. With "Francesca da Rimini" Gabriele D'Annunzio had resorted to material from Dante's "Divine Comedy", which was one of the favorite subjects of Romanticism in the 19th century. Cruel passions, bloody scenes in times of civil war, one caught in flagranti,

The 31-year-old Riccardo Zandonai now saw the drama as an opportunity for a large-scale opera, for bright changes of color and a musical language that amalgamated the most diverse styles and times: between reminiscences of the madrigals of the Renaissance, the hardness of verismo, Wagner's TRISTAN UND ISOLDE as a role model and the French impressionism of Debussy, Zandonai found his very own way of European music theatre.

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