Organization

Conductor

Ivo Lipanović

Stage director

Petar Selem

Set designer

Ivo Knezović

Costume designer

Dora Argento

Choreographer

Antun Marinić

Lighting designer

Zoran Mihanović

Chorus master

Ana Šabašov

Singer

Soprano

Svetla Vassileva

Luisa

Adela Golac Rilović

Bass

Ivica Čikeš

Count Walter

Tenor

Branko Robinsak

Rodolfo

Contralto

Martina Tomčić

Federica

Žana Marendić Bučević

Ante Jerkunica

Wurm

Baritone

Paolo Coni

Miller

Alen Ruško

Mezzo-soprano

Nera Gojanović Kljajić

Laura

Saša Jakelić

A farmer

HNK Split

Others

HNK Split Choir

Orchestra

HNK Split Orchestra

Luisa Miller

Split

Croatia

Luisa Miller Verdi

Public

Approved

After adventures with style in Machbeth and French-inspired operas from the late 1840-ies, Verdi returned to the main stream of Italian melodrama, but on a higher level of sophistication and expressiveness. Composing Luisa Miller to Schiller’s pattern, Verdi achieved more than an impressive opera which was admired but seldom put on repertoire. Perhaps the very Luisa Miller was a turning point in Verdi’s shaping of such musical forms which would strictly serve the purpose of drama, being less and less dependent on inherited operatic conventions. This is revealed not only in the way duets are shaped or in the simple but fascinating eloquence of choirs, but also in the repetition of theme which, however disguised it may be, invades again and again like a symbol of fate destroying the happiness of those who love each other.

English

Nakon stilskih pustolovina Machbetha i opera s francuskom inspiracijom iz kasnih 1840-ih, Verdi se vratio glavnoj struji talijanske melodrame, ali na višoj razini sofisticiranosti i izražajnosti. Radeći Luisu Miller prema Schillerovom predlošku, Verdi je napravio više nego dojmljivu operu, koja je uvijek bila predmet divljenja premda je teško zadobivala ono repertoarno mjesto koje objektivno zaslužuje. Možda je upravo Luisa Miller prekretnica u Verdijevom definitivnom uobličavanju takvih glazbenih formi koje bi strogo odgovarale dramskoj svrsi, a sve manje bile podložne naslijeđenim opernim konvencijama. To se podjednako očituje u načinu na koji su oblikovani dueti, u jednostavnoj, ali očaravajućoj elokvenciji zborova, a isto tako i u ponavljanju od uvertire prisutne teme, koja, kako god bila prerušena, uvijek iznova nadire poput simbola kobne sudbine što uništava sreću onih koji se vole.

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