Name: I lombardi alla prima crociata
Start: 2009-01-13T00:00:00.000Z
End: 2009-01-24T00:00:00.000Z
Location: Teatro Regio

Organization

Tenor

Roberto De Biasio

Arvino

Bass

Michele Pertusi

Pagano

Soprano

Cristina Giannelli

Viclinda

Dimitra Theodossiou

Giselda

Silvia Dalla Benetta

Roberto Tagliavini

Pirro

Gregory Bonfatti

Prior of the City of Milan

Valdis Jansons

Acciano

Francesco Meli

Oronte

Daniela Pini

Sofia

Veronica Simeoni

Conductor

Daniele Callegari

Stage director

Lamberto Puggelli

Set designer

Paolo Bregni

Costume designer

Santuzza Calì

Lighting designer

Andrea Borelli

Chorus master

Martino Faggiani

Teatro Regio di Parma

Orchestra

Orchestra del Teatro Regio di Parma

ítalska

I lombardi alla prima crociata -  (The Lombards on the First Crusade)

Parma

Italy

Teatro Regio

The composition to a libretto by Temistocle Solera was written after the great success of "Nabucco" and, as Verdi's fourth opera, is an interesting early work on his way to artistic independence and world fame. "I Lombardi alla prima crociata" (The Lombards on the First Crusade), premiered in 1843 at La Scala in Milan, is set towards the end of the 11th century and, against the backdrop of the Crusades, brings to life the rivalry between the brothers Arvino and Pagano for the hand of Viclinda Stage.
Pagano was defeated in the dispute and was banished after attempting to murder his brother; Arvino married Viclinda. The brothers vow to be reconciled, but when Arvino is assigned to lead the Lombard troops on the crusade, Pagano senses new opportunities and invades the family palace in Milan to kidnap Viclinda. But instead of his brother he kills his father, is caught and sent into exile again.
Arvino's daughter Giselda is imprisoned in Antioch in the harem of the tyrant Acciano. His son Oronte is in love with Giselda.
The Crusaders reach Antioch and invade the harem; rumor has it that Acciano and Oronte were killed in the process. Giselda therefore rejects her father as the murderer of her lover and his father.
But Oronte was only wounded and, disguised as a Lombard, went in search of Giselda. They find each other in Arvino's camp near the Mount of Olives and flee, but Oronte dies of his injuries in a grotto on the banks of the Jordan.
Before that, a hermit baptizes him, who later reveals himself as Pagano and, mortally wounded, dying asks forgiveness for his actions. The Crusaders have reached Jerusalem.


No other composer has gone through such a great artistic development as Giuseppe Verdi. The operatic history of the 19th century can be traced in an exemplary way by looking at the immense creative breadth from "Oberto" to "Falstaff". The name Verdi became synonymous with Italian opera. He could represent all human feelings in the melody, relaxed the rigid alternation between scene and aria, used the singing voice effectively and had a feeling for gripping drama. His work fascinates the tourists in the Arena of Verona as well as the modern musical theater directors, whose updates prove how much work of interpretation a good work of art can take.

The musician Verdi set new standards in opera, the politician Verdi was committed to the unity and independence of his homeland; the prisoner's chorus from "Nabucco" is considered the secret Italian national anthem. The financier Verdi knew how to capitalize on his talent, the patron Verdi founded the famous retirement home for musicians in Milan. And yet, as he said himself, he remained a farmer who felt most at home on his estate. No wonder that for a time almost no composer could get past Verdi when venturing into the field of opera. "Verdisation of the young" was what Eduard Hanslick mockingly called this phenomenon, which only came to an end with Puccini, Verismo and the successors to Wagner.

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