Organization

Singer

Mezzo-soprano

Polina Artsis

Isabella

Tenor

Miloš Bulajić

Lindoro

Stefan von Korch

Bass

Wieland Satter

Mustafa

Marcell Bakonyi

Baritone

Daniel Böhm

Taddeo

Rosario Chávez

Zulma

Soprano

Ines Vinkelau

Elvira

Julia Pastor

Bartolomeo Stasch

Haly

Stage director

Andreas Baesler

Conductor

Daniele Squeo

Costume designer

Anke Drewes

Set designer

Hartmut Schörghofer

Dramaturge

Andreas Bronkalla

Chorus master

Gerhard Polifka

Video designer

Johnathan Tyler Schmieding

Levent Bakirci

Pfalztheater Kaiserslautern

Others

Herren des Chores des Pfalztheaters

Orchestra

Pfalzphilharmonie Kaiserslautern

italština

L'italiana in Algeri -  (The Italian Girl in Algiers)

Kaiserslautern

Germany

Pfalztheater

Großes Haus

Public

The Italian Girl in Algiers

němčina

Approved

Isabella, a capricious Italian, stirs up the men's world in Algiers!
Her lover Lindoro is in the hands of Mustafa, the Turkish ruler of Algeria. To free Lindoro, Isabella uses her feminine charms and turns Mustafa's head. Without further ado, he wants to deport his own wife Elvira with Lindoro so that he can marry Isabella. Isabella persuades Mustafa that if he is to be a worthy husband for her, he must first become a member of the order of the "Pappataci" (in German "Schweig, Vater!"). Blind with love, Mustafa submits to the strict rules of the order, according to which nothing else is allowed to be done besides eating, drinking and sleeping. So incapacitated in the most pleasant way, Mustafa does not notice that Isabella has long boarded a ship to Italy together with Lindoro ...
"Die Italienerin in Algier" ("L 'Italiana in Algeri") was written by Gioacchino Rossini within a month and was premiered on May 22, 1813 in Venice. In addition to the opera seria "Tancredi" from the same year, "Die Italienerin" the big breakthrough of the 21-year-old Rossini.
Even more: this buffo opera with its witty plot, pointed arias and spirited ensembles became the epitome of humor translated into music.
The confusion in the first finale increases so much that the characters lose any ability to express themselves verbally and can only express themselves by imitating instruments, animal voices or noises. This form of musical nonsense became a strong source of inspiration for Jacques Offenbach and his style of operetta around 50 years later.
In terms of content, Rossini and his "Italienerin" tie in with the fashion of the "Seraglio" operas, as it was shaped by Mozart and Gluck, albeit in a funny, almost emancipatory reversal of gender roles.

English

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