Organization

Chanteur

Basse

Giorgio Surian

Le Comte Walter

Mario Luperi

Ténor

Marcelo Álvarez

Rodolfo

Francesco Demuro

Contralto

Francesca Franci

Federica

Rafał Siwek

Wurm

Baryton

Leo Nucci

Miller

Soprano

Fiorenza Cedolins

Luisa

Irina Lungu

Mezzo-soprano

Katarina Nikolic

Laura

Angelo Villari

Un paysan

Direction d'orchestre

Donato Renzetti

Mise en scène

Denis Krief

Décors

Costumes

Lumières

Direction de choeur

Martino Faggiani

Others

Coro del Teatro Regio di Parma

Orchestra

Orchestra del Teatro Regio di Parma

Teatro Regio di Parma

italien

Luisa Miller

Parme

Italie

Teatro Regio

Luisa Miller has fallen in love with a young hunter. She does not know that it is Rodolfo, the son of the landowner Count von Walter. Wurm, the Count's manager of the castle, lays claim to Luisa's hand and informs his master of Rodolfo's relationship with a village girl. However, Count von Walter wants his son to marry the rich widow Federica von Ostheim. A merry-go-round of intrigues is set in motion, at the end of which Luisa's father Miller and Count von Walter will be stunned by the bodies of their children...
In the 1840s, Verdi worked on three of Schiller's plays as models for an opera: "Giovanna d'Arco" (after "The Maid of Orleans"), "I Masnadieri" (after "The Robbers") and "Luisa Miller" ( after "Cabal and Love"); around twenty years later came the culmination of Verdi's Schiller settings with "Don Carlos". The drama "Intrigue and Love" was not to be translated literally, but rather to provide situations, passions and emotions for music that Verdi wrote "for the singers". Changes were also caused by the censorship,
The great development that Giuseppe Verdi went through in the course of his more than 50-year career as an opera composer can be followed impressively in "Luisa Miller": for example in the diverse instrumentation, the less schematic structure of the score and the striking drawing of the characters much ahead of later operas such as "Ein Masked Ball", but does not deny the creator of the previous impressive scenes of "Nabucco" or "Attila".
From a musical point of view, the development of the title heroine from the seemingly innocent coloratura technique at the beginning to the poignant depiction of the pain suffered at the end of the opera is particularly noteworthy.
The music of "Luisa Miller" is among the most beautiful that Verdi ever wrote for the opera stage and impresses with its wealth of euphony in arias, ensembles or choral scenes.

Luisa Miller Verdi

Public

Valide

Photos