Organization

Singer

Tenor

Lawrence Brownlee

Count Ory

Soprano

Cecilia Bartoli

Countess Adele

Mezzo-soprano

Mari Eriksmoen

Isolier

Liliana Nikiteanu

Lady Ragonde

Bass

Peter Kálmán

The Tutor

Baritone

Pietro Spagnoli

Raimbaud

Conductor

Jean-Christophe Spinosi

Stage director

Moshe Leiser

Patrice Caurier

Set designer

Christian Fenouillat

Costume designer

Agostino Cavalca

Lighting designer

Martin Gebhardt

Christophe Forey

Gaia Petrone

Alice

Rupert Enticknap

Mainfroy

Andrew Owens

Un coryphée

MusikTheater an der Wien

Others

Ensemble Matheus

frantsesa

Le comte Ory -  (Count Ory)

Vienna

Austria

Theater an der Wien

alemana

Approved

LE COMTE ORY Gioachino Rossini

The desert Count Ory is a character from the troubadour poetry. A Picard ballad tells how he smuggled himself into a monastery with 14 cronies in nun disguise and there begat 14 new knights with the real nuns. Rossini's last comic opera was created on the basis of a piece by comedy routineer Eugène Scribe about this Count Ory - an extremely piquant masterpiece both musically and in terms of content. The libretto is a witty parody of classic French tragedy.

Almost all men are on a crusade. When they left, the women had to pledge chastity and are now sitting around bored in the castles. The beautiful young Comtesse Adèle de Formoutiers sinks into deep melancholy. Her sadness is inexplicable to her, so she seeks out a supposedly pious hermit in order to get to the bottom of her bad mood with his help. This hermit is none other than the nationally known libertine Comte Ory, who wants to take advantage of the absence of the other men. He has almost got the Comtesse to the point where she takes him to the castle as spiritual advisor, when he is exposed and chased away. But the lascivious does not give up and, disguised as a nun, still gains entry into the castle. Only the page Isolier finds out about Ory and finally can tenderly

For Le Comte Ory, Rossini used music from his coronation opera Il viaggio a Reims (1825), which he himself found difficult to perform, but of whose music he was rightly proud.
Hector Berlioz praised the trio “À la faveur de cette nuit obscure”, in which the nocturnal erotic confusion between Comtesse, Ory and Isolier culminates as a uniquely ingenious idea. Le Comte Ory is Rossini's last musical comedy before he
finally withdrew from opera composition after Guillaume Tell (1829).

English

Count Ory by Rossini, Noiztik (2013/2013), Zuzendaria Moshe Leiser, Patrice Caurier,, Zuzendaria Jean-Christophe Spinosi, Theater an der Wien, Vienna, Austria

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