Organization

Singer

Mezzo-soprano

Elena Maximova

Sara

Myroslava Havryliuk

Tenor

Juraj Hollý

Roberto Devereux

David Astorga

Anton Baculík

Lord Cecil

Maxim Kutsenko

Bass

Michal Onufer

Sir Walter Raleigh

Martin Kovács

Baritone

Marián Lukáč

The Duke of Nottingham

Marek Gurbal

László Havasi

A servant of Nottingham

Krisztián Kokolusz

Soprano

Eva Bodorová

Elizabeth

Michaela Várady

Contralto

A page

Stage director

Anton Korenči

Conductor

Peter Valentovic

Vinicius Kattah

Lighting designer

Róbert Farkas

Costume designer

Mitzy Von Hoffmann

Set designer

Pavol Juráš

Repetiteur

Peter Michalik

Video designer

Jakub Pišek

Choreographer

Andrej Petrovič

Dramaturge

Stanislav Trnovský

Chorus master

Lukáš Kozubík

Bea Kolbašovská

Štátne divadlo Košice

Košice

Slovakia

Národné Divadlo Košice (ex Štátne divadlo)

Roberto Devereux Donizetti

Public

Approved

Príbeh lásky, zrady a moci. Nádherná hudba Gaetana Donizettiho v jeho majstrovskej opere ROBERTO DEVEREUX vás spolu so skvelými sólistami, zborom a orchestro...

G. Donizetti: ROBERTO DEVEREUX - ONLINE PREMIÉRA

Opera Roberto Devereux  draws on the theme of English history and is the third opera portrait of  Queen Elizabeth I. As the last living daughter of Henry VIII. and Anna Boleyn  ascended the English throne in 1558. This prominent figure inspired Gaetano  Donizetti for the first time in the opera Elisabetta all castello di Kenilworth ,  composed on the theme of Walter Scott, in the second musical - dramatic image  of Elizabeth according to Schiller's drama confronts it with Queen  Scott of Scotland finally, in the third, in Robert Devereux , her dramatic relationship with the Earl of Essex is at the forefront  . The score was born in a time of the deep the life crisis of a composer who lost both parents, a stillborn and a short-lived child, and finally a wife in a short period of time  . The premiere took  place on October 29, 1837 at the Teatro San Carlo in Naples with great success.

A year later, he prepared a modified version for the Théâtre Italien in Paris, in which  the motif of the English anthem God Save the Queen sounds in the prelude . Like  most of Belcant's serious operas, Roberto Devereux  disappeared  from the stage for a while and was not returned until a massive wave of their renaissance in the middle of the last century.

English

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