Name: I Capuleti e i Montecchi
Start: 2023-08-19T00:00:00.000Z
End: 2023-08-21T00:00:00.000Z
Location: Felsenreitschule

Organization

Dirigat

Marco Armiliato

Chordirektion

Walter Zeh

Sänger

Bass

Michele Pertusi

Capellio

Sopran

Elsa Dreisig

Giulietta

Mezzosopran

Aigul Akhmetshina

Romeo

Tenor

Pene Pati

Tebaldo

Roberto Tagliavini

Lorenzo

Assistant Conductor

Jonathan Santagada

Salzburger Festspiele

Orchestra

Mozarteumorchester Salzburg

Others

Philharmonia Chorus

Italienisch

I Capuleti e i Montecchi -  (Die Capulets und die Montagues)

Salzburg

Österreich

Felsenreitschule

I Capuleti e i Montecchi

Public

Private

Die Capulets und die Montagues

Deutsch

Englisch

Genehmigt

Accordionist

Instrument

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Andere

Bühnenbild

Chor

Choreographie

Chorus Director

Dramaturgie

Extra

GesangslehrerIn

Haar

Illustrator

Komposition

Korrepetition

Kostümbild

Lehrer

Leitender Produzent

Libretto

Lichtgestaltung

Maske

Orchester

Orchestra Operations

Photographer

Poet

Regie

Rundfunk

Schauspiel

Stage Manager

Tongestaltung

Tänzer

Videogestaltung

Wig & Makeup Designer

Writer

Writing and performance

Übersetzung

Countertenor

Bariton

Bass-Bariton

Alto

Continuo

Kinderstimme

Sprechrolle

Stumme Rolle

Vincenzo Bellini had already made a name for himself
far beyond Italy’s borders when the Teatro La Fenice engaged him in January 1830 to produce a new opera for the current carnival season — within just a few weeks. With I Capuleti e i Montecchi, Bellini entered into his artistic prime, demonstrating that he had now found his true personal style — a style which pursued the vision of music ‘that expresses the words scrupulously’, and gave birth to melodies of exquisite beauty and great dramatic expressiveness. The degree to which the vocal lines capture precisely each nuance of the text can be heard particularly in the final scene — Romeo’s suicide beside Giulietta, whom he believes to be dead but who then slowly reawakens. Departing from the convention of an aria finale, Bellini relied on the effect of an extended accompagnato recitative in which are embedded arioso passages, an arietta and an equally brief duet. The scene is all the more profoundly moving for being kept so spare.
In assigning the role of the male protagonist to a mezzo-soprano, Bellini was following in the footsteps of earlier Italian Romeo and Juliet operas. Some found this tradition outmoded, but it has an undeniable appeal. Casting two women as the lovers enabled Bellini to entwine their voices, and also to meld them into true consonance. Thus at the end of the finale of Act I, offset against the male chorus of their feuding families, Romeo and Giulietta sing a melody in unison that even overwhelmed Berlioz, who was by no means an admirer of Bellini: ‘The two voices sounding as one, symbolizing perfect union, give the melody an extraordinary force and bold impetus. I was carried away in spite of myself and applauded enthusiastically.’

English

Die Capulets und die Montagues by Bellini, Sa. 19 Aug. 2023, Ab (2023/2023), Dirigat Marco Armiliato, Felsenreitschule, Salzburg, Österreich

Aufführungskredite (Besetzung & Produktionsteam )

Besetzung

Produktionsteam

Ensemble

Programm, Info & Synopsis

Fotos

Weiterführende Literatur

Aufführungstermine & Spielstätten

Veranstaltungsorte