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

Organization

Dirigent

Zsolt Jankó

Regissör

Emese Szabó

Scenograf

Gyula Lőrincz

Kostym designer

Körledare

Sándor Barabás

Endre Ferenczi

Szabolcs Kulcsar

Katalin G. Incze

Sångare

Soprano

Yolanda Covacinschi

La comtesse Adèle de Formoutiers

Mezzo-soprano

Iulia Merca

Isolier

Tenor

Tony Bardon

Le Comte Ory

Lívia Antal

Alice

Veress Orsolya

Dame Ragonde

Bass

Sándor Árpád

Le Gouverneur

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

franska

Le comte Ory

Cluj-Napoca

Rumänien

Opera Maghiară

Le comte Ory Rossini

Public

ungerska

rumänska

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

Föreställningskrediter (Medverkande & produktionsteam )

Medverkande

Besättning

Ensemble