Name: Le comte Ory
Start: 2020-11-12T00:00:00.000Z
End: 2020-11-12T00:00:00.000Z
Location: Opera Maghiară

Organization

Conductor

Zsolt Jankó

Stage director

Emese Szabó

Set designer

Gyula Lőrincz

Costume designer

Chorus master

Sándor Barabás

Endre Ferenczi

Szabolcs Kulcsar

Katalin G. Incze

Soprano

Yolanda Covacinschi

Countess Adele

Mezzo-soprano

Iulia Merca

Isolier

Tenor

Tony Bardon

Count Ory

Lívia Antal

Alice

Veress Orsolya

Lady Ragonde

Bass

Sándor Árpád

The Tutor

Baritone

Sándor Balla

Raimbaud

Orchestra

Orchestra of the Hungarian Opera of Cluj

Opera Maghiară din Cluj-Napoca

Others

The choir of The Hungarian Opera in Cluj-Napoca and the Tokos Orchestra

프랑스어

Le comte Ory -  (Count Ory)

Cluj-Napoca

Romania

Opera Maghiară

Le comte Ory Rossini

Public

헝가리어

루마니아어

Approved

The Romanian audience will be able to see the Count of Ory for the first time in the performance of the Hungarian Opera in Cluj-Napoca, and the 2013 premiere falls on the 145th anniversary of the author's death. The success of Rossini's last comedy opera is evidenced by the fact that, after its premiere in 1828, it was broadcast nearly four hundred times in Paris until 1884, but was later relegated to the background alongside Rossini's better-known operas. The 2011 premiere of the Metropolitan Opera once again put the undeservedly forgotten opera in the spotlight.

The protagonist, Count Ory, probably existed in the XII. century: the authors of the libretto, Eugène Scribe and Charles-Gaspard Delestre-Poirson, were inspired by a Picardian legend. In the love triangle at the heart of the opera, woman and man, morality and unbridledness, real passion and a desire to conquer clash. The “comedy of bad manners and good passion” (formulated by American music critic Martin Bernheimer) provides an opportunity for singers to show off not only their technique but also their comedic vein.

In Rossini's ferocious opera, the manic skirt-hunter Ory doesn't change into a monk in the first act, and a nun in the second, only to get close to the adored (mean, desired) lady. The essential helpers of the two-player catcher are modern, modern men heated by real stimuli and the unreal beauty of virtual medieval court ladies created by imagination - when the two teams look more masculine, whether in appearance or character, is determined by the whim of fate.

The descendants of the hero Lysistrate ride a motorcycle, wear pants in reality, and are dazzlingly beautiful in their imagination, and show a fity to the modern Don Giovanni who stumbled - long live the emancipation!

English

성과 크레딧 (캐스트 & 크루 )

깁스

승무원

앙상블