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

Organization

Conductor

Marco Armiliato

Chorus master

Walter Zeh

Singer

Bass

Michele Pertusi

Capellio

Soprano

Elsa Dreisig

Juliet

Mezzo-soprano

Aigul Akhmetshina

Romeo

Tenor

Pene Pati

Tebaldo

Roberto Tagliavini

Lorenzo

Assistant Conductor

Jonathan Santagada

Salzburger Festspiele

Orchestra

Mozarteumorchester Salzburg

Others

Philharmonia Chorus

italia

I Capuleti e i Montecchi -  (The Capulets and the Montagues)

Salzburg

Austria

Felsenreitschule

I Capuleti e i Montecchi

Public

Private

The Capulets and the Montagues

saksa

englanti

Approved

Accordionist

Instrumentalist

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

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Baritone

Bass-baritone

Contralto

Alto

Child vocalist

Continuo

Silent

Spoken

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

The Capulets and the Montagues by Bellini, la 19 elo 2023, Alkaen (2023/2023), Musiikinjohto Marco Armiliato, Felsenreitschule, Salzburg, Austria

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