Name: L'italiana in Algeri
Start: 2018-05-18T00:00:00.000Z
End: 2018-05-20T00:00:00.000Z
Location: Haus für Mozart

Organization

Mise en scène

Patrice Caurier

Direction d'orchestre

Jean-Christophe Spinosi

moshe leiser

Décors

Christian Fenouillat

Costumes

Agostino Cavalca

Lumières

Christophe Forey

Video

Etienne Guiol

Dramaturgie

Christian Arseni

Chanteur

Mezzo-soprano

Cecilia Bartoli

Isabella

Basse

Peter Kálmán

Mustafà

Ténor

Edgardo Rocha

Lindoro

Baryton

Alessandro Corbelli

Taddeo

José Coca Loza

Haly

Soprano

Rebeca Olvera

Elvira

Rosa Bove

Zulma

Direction de choeur

Walter Zeh

Salzburger Festspiele

Wiener Staatsoper

Others

Philharmonia Chorus

italien

allemand

L'italiana in Algeri -  (L'italienne à Alger)

Salzbourg

Autriche

Haus für Mozart

L'italiana in Algeri Rossini

Public

L'italienne à Alger

anglais

Valide

Mustafà, the Bey of Algiers, is fed up with his wife and resolves to discard her for someone with more exotic charms: an attractive Italian girl would be just the ticket. On cue, his pirates intercept the shipwrecked Isabella, who has come looking for her lover, Lindoro. Does a future beckon as the star of Mustafà’s harem? The feisty Isabella is not so easily fazed, and her very first encounter with the sex-hungry Bey confirms her in her tried and tested strategy: coquetry and flattery are her weapons of choice. Soon, a disoriented Mustafà is all at sea. Smug machismo and emancipatory insubordination intersect at the heart of this equally comical and bizarre plot, in which two alien cultures also surprise each other with some strange rituals. In this way a dubious Oriental title is foisted upon one of the Italians, who for their part initiate Mustafà into a fellowship devoted to eating, drinking and sleeping. The real joke, however, lies in the music: L’italiana in Algeri (1813) marks the first full blossom of Rossini’s comic genius, at its most irresistible in moments like the finale of Act I, when the utterly bewildered characters stiffen into marionettes, becoming cogs in an electrifying machinery of rhythm and sound. Stendhal aptly called this music ‘organized and complete madness’.

English

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage

Ensemble

Coproducteur