Organization

Stage director

Axel Ranisch

Set designer

Falko Herold

Costume designer

Alfred Mayerhofer

Lighting designer

Michael Bauer

Dramaturge

Ralf Waldschmidt

Chorus master

Eberhard Friedrich

Luiz de Godoy

Singer

Baritone

Roberto Frontali

Michele

Soprano

Elena Guseva

Giorgetta

Tenor

Jürgen Sacher

Tinca

Bass

Tigran Martirossian

Talpa

Najmiddin Mavlyanov

Luigi

Mezzo-soprano

Katja Pieweck

La Frugola

Florian Panzieri

A song seller

Narea Son

Voce di sopranino

A female lover

Oleksiy Palchykov

Voce di tenorino

A male lover

Sister Angelica

Contralto

The Princess

Renate Spingler

The Abbess

Hellen Kwon

Sister Zelatrice

Priscila Moura Olegario

The Mistress of the novices

Sister Genovieffa

Olivia Boen

Sister Osmina

Kady Evanyshyn

Sister Dolcina

Ida Aldrian

The nursing sister

Gianni Schicchi

Lauretta

Rinuccio

Gherardo

David Minseok Kang

Betto di Signa

Simone

Alexey Bogdanchikov

Marco

La Ciesca

Nella

Han Kim

Maestro Spinelloccio

Mateusz Ługowski

Ser Amantio di Nicolao

Zita

Conductor

Giampaolo Bisanti

Leonardo Sini

Video designer

Soomin Lee

The alms sisters

Luminita Andrei

Second alms sister

First alms sister

Staatsoper Hamburg

Others

Alsterspatzen - children and youth choir of the Hamburg State Opera

Hamburg State Opera Choir

Orchestra

Philharmonic State Orchestra Hamburg

italština

Il Trittico

Hamburg

Germany

Staatsoper

Großes Haus

Public

The Cloak

němčina

angličtina

Approved

Il Trittico: Gianni Schicchi Puccini (+2 More)

Three stories that couldn't be more different: an inheritance-hugging comedy in 13th-century Florence borrowed from Dante's Divine Comedy, a drama of jealousy in the middle-class Parisian milieu and finally the tragedy of a young woman who is cheated of her life and her child. Despite all the contrasts, the three works revolve around the eternal questions of love, of truth, of the chance of a self-determined life of one's own. Against the resistance of his publisher Giulio Ricordi, Puccini was not able to implement the plan for a musical triptych for many years, and only after Ricordi's death did the composer dare the experiment of combining three one-act operas into one opera evening. The desire for the new also characterizes the music. Ship sirens, engine horns, an out of tune barrel organ are atmospherically collaged in Il tabarro. Dissonances and contemporary dance rhythms creep into Gianni Schicchi. Suor Angelica is characterized exclusively by female voices - this was long considered a shortcoming of this opera and seems all the more groundbreaking to us today. The story of a young mother who is driven to suicide by the narrow-minded morality of her bigoted family forms the finale in our new production. Il Trittico is Puccini's last completed work, a dramaturgical experiment that stands on the threshold of musical modernity. who is driven to suicide by the narrow-minded morality of her bigoted family forms the finale in our new production. Il Trittico is Puccini's last completed work, a dramaturgical experiment that stands on the threshold of musical modernity. who is driven to suicide by the narrow-minded morality of her bigoted family forms the finale in our new production. Il Trittico is Puccini's last completed work, a dramaturgical experiment that stands on the threshold of musical modernity.

English

Drei Geschichten, die unterschiedlicher nicht sein könnten: Eine Erbschleicherkomödie im Florenz des 13. Jahrhunderts, die Dantes Göttlicher Komödie entlehnt ist, ein Eifersuchtsdrama im Pariser Kleinbürgermilieu und schließlich die Tragödie einer jungen Frau, die um ihr Leben und ihr Kind betrogen wird. Bei allen Gegensätzen kreisen die drei Werke um die ewigen Fragen nach Liebe, nach Wahrheit, nach der Chance auf ein eigenes, selbstbestimmtes Leben. Gegen den Widerstand seines Verlegers Giulio Ricordi konnte Puccini den Plan eines musikalischen Triptychons über viele Jahre nicht durchsetzen, und erst nach dessen Tod wagte der Komponist das Experiment, drei Einakter zu einem Opernabend zu verbinden, die Lust am Neuen prägt auch die Musik. Schiffssirenen, Motorhupen, ein verstimmter Leierkasten werden in Il tabarro atmosphärisch collagiert. Dissonanzen und zeitgenössische Tanzrhythmen schleichen sich in Gianni Schicchi ein. Suor Angelica wird ausschließlich von Frauenstimmen geprägt – das galt lange als Manko dieser Oper und erscheint uns heute umso wegweisender. Die Geschichte einer jungen Mutter, die von der engstirnigen Moral ihrer bigotten Familie in den Selbstmord getrieben wird, bildet in unserer Neuproduktion das Finale. Il trittico ist Puccinis letztes vollendetes Werk, ein dramaturgisches Experiment, das an der Schwelle der musikalischen Moderne steht.

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