Name: La Périchole
Start: 2018-05-19T00:00:00.000Z
End: 2018-05-19T00:00:00.000Z
Location: Haus für Mozart

Organization

Soprano

Olivia Doray

Guadalena

Mezzo-soprano

Léa Desandre

Mastrilla

Ninetta

Mélodie Ruvio

Berginella

Frasquinella

Conductor

Marc Minkowski

Dramaturge

Romain Gilbert

Aude Extrémo

La Perichole

Tenor

Benjamin Bernheim

Piquillo

Baritone

Alexandre Duhamel

Don Andres de Ribeira

Éric Huchet

Don Miguel de Panatellas

Marc Mauillon

Don Pedro de Hinoyosa

Spoken

Rémy Mathieu

The Marquis de Tarapote

François Pardailhé

Two notaries

Manuelita

Adriana Bignagni Lesca

Brambilla

Chorus master

Salvatore Caputo

Salzburger Festspiele

Wiener Staatsoper

Others

Bordeaux National Opera Choir

Orchestra

Les Musiciens du Louvre Grenoble

френски

немски

La Périchole -  (La Perichole)

Salzburg

Austria

Haus für Mozart

La Périchole Offenbach

Public

Private

английски

Approved

Paris 1868. Decades after the Rossini craze, a German-born Frenchman whipped the audiences of the Second French Empire into the same enthusiastic frenzy which once greeted the Italian master’s comic operas. Jacques Offenbach was at the height of his fame and the Parisian public couldn’t get enough of Orphée aux enfers or La Belle Hélène. La Périchole, perhaps the most charming of Offenbach’s masterful operettas, was another product of his successful partnership with the librettists Meilhac and Halévy. The work brims over with sparkling wit, satirical bite and riotous merriment, but also strikes a more sentimental note — understandably so, as the subject has its tragic aspects. When the Viceroy of Peru once again takes to the streets of Lima incognito (or so he thinks) in order to check the pulse of public opinion, he becomes smitten with the penniless street singer Périchole and starts to make plans for her, beginning with an invitation to his court. The offer of an escape from hardship sways Périchole into accepting, and with a heavy heart she pens a letter of farewell to her beloved companion Piquillo. ‘What transports of love can one hope to enjoy when one is dying of hunger?’, she asks in her letter aria, with which Offenbach’s favourite singer Hortense Schneider had already moved listeners to tears.

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