Organization

Conductor

Maurizio Benini

Stage director

Allex Aguilera

Set designer

Costume designer

Françoise Raybaud

Lighting designer

Luis Perdiguero

Video designer

Arnaud Pottier

Singer

Soprano

Rosa Feola

Juliet

Mezzo-soprano

Raffaella Lupinacci

Romeo

Bass

Roberto Lorenzi

Capellio

Tenor

Maxim Mironov

Tebaldo

Adolfo Corrado

Lorenzo

Opéra Royal de Wallonie - Liège

Orchestra

Royal Opera of Wallonia Orchestra

Others

Choeur de l'Opéra Royal de Wallonie-Liège

italiensk

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

Liège

Belgium

Théâtre Royal de Liège

I Capuleti e i Montecchi Bellini

Public

The Capulets and the Montagues

fransk

nederlandsk

engelsk

tysk

Approved

HISTOIRES DE FAMILLES
AMANTS DE VÉRONE
SOMBRE
PASSIONNEL
Livret de Felice Romani
Dans la belle Vérone du XIIIe siècle, les Capulet (Guelfes) et les Montaigu (Gibelins) s’affrontent sans merci. Malgré le contexte hostile, Giulietta, qui doit épouser Tebaldo, est amoureuse de Romeo, jeune homme du clan adverse. Mais la haine entre les ennemis est plus forte que l’amour. Les jeunes amants trouveront la mort, point final de cette terrible tragédie.

À la recherche d’un nouveau succès, Bellini accepte, en ce rude hiver vénitien de 1830, de composer un nouvel opéra en l’espace de six semaines, pour le Théâtre de La Fenice. Collaborant avec l’excellent librettiste Felice Romani, le sujet choisi raconte les amours interdites entre deux jeunes amants issus de familles et partis politiques opposés, les Guelfes et les Gibelins, un livret déjà mis en musique sous le titre de Giulietta e Romeo par Nicola Vaccai, un rival de Bellini.

I Capuleti e i Montecchi retourne donc aux sources du récit italien du XVe siècle, dont celui de Matteo Bandello qui avait inspiré Shakespeare lui-même. L’histoire ici narrée est donc sensiblement différente de celle du maître de Stratford.

L’urgence du travail oblige Bellini à reprendre, pratique très courante à l’époque, des extraits de ses œuvres oubliées ou boudées. On retrouve ainsi un grand nombre d’airs issus de Adelson et Salvini (1825) ainsi que de Zaira (1829). Mais l’œuvre triomphe et le compositeur retrouve une notoriété internationale. Quand la grande Maria Malibran investira le rôle de Giulietta en 1832, elle substituera au final de Bellini, trop audacieux à son goût, celui de Nicola Vaccai, plus conventionnel. Cette « trahison » n’a heureusement plus cours aujourd’hui…

DERNIÈRE REPRÉSENTATION À L’ORW
JANVIER 2010
NOUVELLE PRODUCTION
OPÉRA ROYAL DE WALLONIE-LIÈGE
AVEC LE SOUTIEN DU TAX SHELTER DU GOUVERNEMENT FÉDÉRAL BELGE ET DE BEL ARTS FUND

français

The show
“The Italian lyrical world of the 19th century obeyed the principle that governs Hollywood: a composer was worth only what his last opera was worth. […] Bellini had to make up for Zaira 's failure by producing a successful opera right away. » Piotr Kamiński, A Thousand and One Operas, 2003.

FAMILY STORIES PASSIONATE DARK VERONA
LOVERS

Libretto by Felice Romani
In the beautiful Verona of the 13th century , the Capulets (Guelphs) and the Montagues (Ghibellines) confront each other mercilessly. Despite the hostile context, Giulietta, who is to marry Tebaldo, is in love with Romeo, a young man from the opposing clan. But hatred between enemies is stronger than love. The young lovers will find death, the end point of this terrible tragedy.

In search of a new success, Bellini accepts, in this harsh Venetian winter of 1830, to compose a new opera in the space of six weeks, for the Theater of La Fenice. Collaborating with the excellent librettist Felice Romani, the chosen subject recounts the forbidden love between two young lovers from opposite families and political parties, the Guelphs and the Ghibellines, a libretto already set to music under the title of Giulietta e Romeo by Nicola Vaccai , a rival of Bellini.

I Capuleti ei Montecchi therefore returns to the sources of the Italian narrative of the 15th century , including that of Matteo Bandello who had inspired Shakespeare himself. The story told here is therefore significantly different from that of the master of Stratford.

The urgency of the work forced Bellini to resume, a very common practice at the time, extracts from his forgotten or shunned works. We thus find a large number of tunes from Adelson and Salvini (1825) as well as Zaira (1829). But the work triumphs and the composer regains international notoriety. When the great Maria Malibran took on the role of Giulietta in 1832, she substituted Bellini's finale, too daring for her taste, for that of Nicola Vaccai, more conventional. This "betrayal" is fortunately no longer valid today...

LAST PERFORMANCE AT ORW
JANUARY 2010
NEW PRODUCTION
OPERA ROYAL DE WALLONIE-LIEGE
WITH THE SUPPORT OF THE TAX SHELTER OF THE BELGIAN FEDERAL GOVERNMENT AND BEL ARTS FUND

English

Forestillingkreditter (Ensemble & produksjonsteam )

Cast

Mannskap

Ensemble