Organization

Śpiewak

Kontralt

Maria Barakova

La Marchesa Melibea

Sopran

Marina Monzó

La Contessa di Folleville

Mané Galoyan

Corinna

Tenor

Juan de Dios Mateos

Il Conte di Libenskof

Andrei Danilov

Il Cavaliere Belfiore

Misha Kiria

Lord Sidney

Samuel Dale Johnson

Don Alvaro

Biagio Pizzuti

Don Profondo

Philipp Jekal

Il Barone di Trombonok

Padraic Rowan

Don Prudenzio

Mezzosopran

Arianna Manganello

Modestina

Alexandra Ionis

Maddalena

Davia Bouley

Delia

Tyler Zimmerman

Antonio

Andrew Dickinson

Zefirino

Reżyseria

Jan Bosse

Dyrygent

Yi-Chen Lin

Reżyseria światła

Kevin Sock

Kostiumy

Kathrin Plath

Scenografia

Stéphane Laimé

Wideo

Meika Dresenkamp

Jan Antem

Ya-Chung Huang

Sam Park

Pureum Jo

Madama Cortese

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

włoski

The Hotel to the Golden Lily

Berlin

Niemcy

Il viaggio a Reims Rossini

Public

Il viaggio a Reims

niemiecki

angielski

Approved

The Hotel to the Golden Lily: Il viaggio a Reims Rossini3

The premiere of Gioacchino Rossini's last Italian opera on June 19, 1825 in Paris was a special event in several respects: On the one hand, Italy's star of composition finally presented himself in the Seine metropolis with a piece composed especially for Paris. For more than a year he had been in charge of the Théâtre royal Italy, where many of his operas had been performed - but the demanding and extremely critical Parisian audience demanded a new work from the Italian school and was eagerly awaiting the world premiere. On the other hand, Rossini composed IL VIAGGIO A REIMS for the coronation celebrations of Charles X. As early as 1824, after the death of his brother Louis XVIII. crowned with great pomp in the old rite of the pre-revolutionary monarchs in Reims Cathedral. In the early summer of the following year, the official celebrations took place in Paris, to which all the theaters and opera houses contributed program items. In their coronation opera, Rossini and his librettist Luigi Balocchi decided to make the occasion their own topic: nobles from various European countries want to travel to Reims with their servants for the coronation, but they are stranded in the hotel "Zur goldenen Lilie" and come for lack of horses and Carriage no further - without further ado they decide to drive to Paris and celebrate the new king there, not without first organizing a celebratory dinner in the hotel themselves. This non-action, the external standstill and the waiting are garnished with flirtations, jealousies and plenty of national clichés. Rossini was well aware of the short shelf life of the opera as an occasion piece: he used most of the numbers for his next opera, LE COMTE ORY. After a few performances, IL VIAGGIO A REIMS disappeared from the stage - the work was only rediscovered in the 1980s.


IL VIAGGIO A REIMS is Rossini's last Italian opera and it almost seems as if he is rejoicingly summarizing all the variations of the opera buffa and the dramma giocosa: Like a revue, he strings together the most diverse aria and ensemble forms of the time. Director Jan Bosse suits this number dramaturgy very well: “The ensemble concept of this opera seems very modern to me. A group of people is stuck - and indulges in absurd actions. There is no dramatic story for a few soloists, but a revue-like succession of contrasting, highly entertaining 'numbers'. These numbers then work with clichéd basic situations of the opera itself: the unhappy lover, the suffering diva, the jealously circling couple, the oddball. This big number show but also the joint storytelling of an ensemble is extremely attractive for a director who comes from acting! The initially external standstill of the action is our absurd driving force. We see a dormitory: is it a health clinic? A death hospice? The asylum of the dead tired European? Every evening the inmates embark on a long journey – to finally celebrate the coronation of the new king – and get stuck in abstruse rituals.” Is it a health clinic? A death hospice? The asylum of the dead tired European? Every evening the inmates embark on a long journey – to finally celebrate the coronation of the new king – and get stuck in abstruse rituals.” Is it a health clinic? A death hospice? The asylum of the dead tired European? Every evening the inmates embark on a long journey – to finally celebrate the coronation of the new king – and get stuck in abstruse rituals.”

English

Udział w spektaklu (Obsada & realizacja )

Obsada

Załoga

Ensemble