Name: Maria de Rudenz
Start: 2016-10-28T00:00:00.000Z
End: 2016-11-06T00:00:00.000Z
Location: National Opera House

Organization

Wexford Festival Opera

Zanger

Soprano

Gilda Fiume

Maria de Rudenz

Baritone

Joo Won Kang

Corrado Waldorf

Tenor

Jesus Garcia

Enrico

Bass

Michele Patti

Rambaldo

Dirigent

Andrew Greenwood

Regisseur

Fabio Ceresa

Set designer

Gary McCann

Kostuum ontwerper

Giuseppe Palella

Licht ontwerper

Christopher Akerlind

Italiaans

Wexford

Ierland

National Opera House

Jerome Hynes Theatre

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Acteur

Broadcasting

Chefdirigent Musiktheater

Choreograaf

Chorus Director

Componist

Danser

Dramaturg

Extra

Geluidsontwerper

Haar stylist

Illustrator

Koor

Koor meester

Librettist

Orchestra Operations

Orkest

Other

Photographer

Poet

Répétiteur

Stage Manager

Teacher

Uitvoerend producent

Vertaler

Video ontwerper

Visagist

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Contralto

Bass-baritone

Mezzo-soprano

Alto

Child vocalist

Continuo

Silent

Spoken

• Maria de Rudenz has been described as ‘perhaps the darkest of Donizetti’s tragedies’, which is saying something and may account in part for the opera’s long-standing neglect. It tells the story of how Maria falls in love with Corrado against her father’s wishes and flees with him to Venice. In Venice, Corrado abandons her and heads back to the Rudenz family castle, falling in love this time with Maria’s cousin, Matilde di Wolf. Maria returns to the castle and discovers that her lover is not only going to marry her cousin but is also, in fact, the son of a murderer. On the wedding day of Matilde and Corrado, Maria appears and reveals Corrado’s secret, murders Matilde and commits suicide.  First performed at La Fenice in Venice in 1838, Maria de Rudenz comes in the sequence of Donizetti’s 70 or so operas between Roberto Devereux and Poliuto and is thus a work of the composer’s full mastery. Its unsuccessful premiere may have been one reason Donizetti was quick to rearrange the first-act finale for Poliuto (Wexford patrons who saw that opera at Glyndebourne last summer will perhaps recognise some of the music). As so often with Donizetti, this score has its own tinta, or colour, something most noticeable in the long bass clarinet solo in the prelude to Act 2.  The first modern staging of Maria de Rudenz was given, again at La Fenice, in 1980, and it still awaits a full production in both the United Kingdom and the United States. This autumn’s Irish premiere is the latest in a series of important Donizetti revivals at Wexford, which has played a major role in what remains an ongoing Donizetti renaissance. It is surely no coincidence that Wexford Festival Opera’s lifetime has overlapped with Donizetti’s reversal of fortune – the composer who 65 years ago was all but written off as intellectually disreputable has now regained his rightful place in the operatic canon.

Maria De Rudenz Interviews with Highlights - Wexford Festival Opera 2016

Maria de Rudenz by Donizetti, do. 03 nov 2016, Van (2016/2016), Geregisseerd door Fabio Ceresa,, Dirigent Andrew Greenwood, National Opera House, Wexford, Ierland

Voorstellingscredits (Cast & Productieteam )

Cast

Productieteam

Programma, Over & Synopsis

Recensies

Video's

Verder lezen

Uitvoeringsdata en -locaties

Speellocaties