Organization

Дирижер

Daniel Oren

Режиссер-постановщик

Sarah Schinasi

Художник-постановщик

Pier Paolo Bisleri

Художник по костюмам

Françoise Raybaud

Певец

Тенор

Ramón Vargas

Oronte

Сопрано

Salome Jicia

Giselda

Бас

Goderdzi Janelidze

Pagano

Luca Dall'Amico

Pirro

Aurore Daubrun

Viclinda

Caroline De Mahieu

Sofia

Roger Joakim

Acciano

Художник по свету

Bruno Ciulli

Opéra Royal de Wallonie - Liège

Matteo Roma

Arvino

Xavier Petithan

Un priore della città di Milano

Others

Choeur de l'Opéra Royal de Wallonie-Liège

Orchestra

Royal Opera of Wallonia Orchestra

итальянский

I lombardi alla prima crociata -  (Ломбардцы в первом крестовом походе)

Льеж

Бельгия

I lombardi alla prima crociata Verdi

Public

Ломбардцы в первом крестовом походе

Одобрено

I Lombardi alla Prima Crociata : présentation de l'œuvre

"Although underestimated today, I Lombardi nevertheless belongs to the work, certainly youthful but already glorious, of Verdi, who, on the strength of the success achieved by Nabucco , confirms with this new opera his masterful flight in the field of lyrical art. »
Marie Aude Roux

Pagano, in love with his brother Arvino's wife, kills his father by mistake. He goes into exile in the Holy Land and renounces love. In the guise of a hermit, he helps the Crusaders, led by Arvino, to deliver Antioch, whose tyrant is holding his daughter, then to liberate Jerusalem: victory sounds. The mysterious hermit reveals himself, Pagano confesses his crime and dies forgiven.

For La Scala in Milan, Verdi composed, in 1843, a work recounting a family drama with hints of amorous rivalries between two brothers in the context of the First Crusade. The libretto of I Lombardi alla Prima Crociata , directed by Temistocle Solera, already author of that of Nabucco , incorporates numerous patriotic allusions. Within the framework of the Risorgimento and following the famous "Va pensiero" which had brought the work to both musical and political success, one could only see in it the hope of a hypothetical independence and unification of Italy. . Verdi became a sort of tribune of the people who, thanks to his art, carried the hopes of the revolutionary Giuseppe Mazzini, he who, a few years earlier, in hisPhilosophy of Music , dedicated his artistic advice to this ignoto numini , this young unknown who, perhaps somewhere in the country, is tormented by inspiration and who encloses within himself the secret of a musical era… all is said !

English

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