Organization

Singer

Contralto

Olesya Petrova

Ulrica

Tenor

Yusif Eyvazov

Richard

Judit Kutasi

Bass

Sam Park

Silvano

Patrick Guetti

Tyler Zimmerman

Samuel

Jörg Schörner

A judge

Andrew Dickinson

A servant of Amelia

Stage director

Götz Friedrich

Conductor

Michelangelo Mazza

Costume designer

Gottfried Pilz

Isabel Ines Glathar

Set designer

Choreographer

Andria Hall

Chorus master

Jeremy Bines

Yi-Chen Lin

Soprano

Irina Churilova

Amelia

Heidi Stober

Oscar

Ya-Chung Huang

Patrick Cook

Baritone

Thomas Lehman

Renato

Dario Solari

Elena Tsallagova

Dmytro Popov

Yosep Kang

Maria Teresa Leva

Veronika Dzhioeva

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Others

Choir of the Deutsche Oper Berlin

Ballet

Opera Ballet of the Deutsche Oper Berlin

italština

Un ballo in maschera -  (A Masked Ball)

Berlin

Germany

Un ballo in maschera Verdi

Public

Private

A Masked Ball

němčina

angličtina

Approved

The tragic love affair between King Gustaf III. and Amelia is contrasted with the radiant courtyard atmosphere. Musical contrasts, sharp dots and syncope formations express the intensity of the feelings. Musical direction: Michail Jurowski; Production: Götz Friedrich With, among others, Kamen Chanev, Angela Marambio, Martina Welschenbach, Lado Ataneli

King Gustaf III. holds its morning audience as if it were a theater performance. The page Oskar presents the king with the guest list for an upcoming masked ball. Gustaf then discovers the name of Amelias, the wife of his best friend René Anckarström, whom he secretly loves. A conspiracy against the king is looming. René warns him, but the king underestimates the danger. Nor does he take seriously the oracle of the fortune teller Ulrika, who foretells that he will be killed by whoever shakes his hand first, as it is his friend René Anckarström who greets him with a handshake. When Gustaf and Amelia confess their love at the place of execution at midnight, René appears unexpectedly to warn the friend again. He exchanges the cloak with the king so that he can flee unrecognized and promises to escort the veiled stranger back to town. The conspirators come and attack the supposed king. René reveals himself. His wife Amelia throws herself between the fighting and lets her veil fall. Mocked as a betrayed husband, René wants to join the conspirators. When the page Oskar brings the king's invitation to the masked ball, he decides to let the ball become a dance of death for Gustaf, without knowing that the king has already decided against love and duty. When he says goodbye to Amelia, he is shot by René. Mocked as a betrayed husband, René wants to join the conspirators. When the page Oskar brings the king's invitation to the masked ball, he decides to let the ball become a dance of death for Gustaf, without knowing that the king has already decided against love and duty. When he says goodbye to Amelia, he is shot by René. Mocked as a betrayed husband, René wants to join the conspirators. When the page Oskar brings the king's invitation to the masked ball, he decides to let the ball become a dance of death for Gustaf, without knowing that the king has already decided against love and duty. When he says goodbye to Amelia, he is shot by René.

UN BALLO IN MASCHERA is a prime example of Verdi's new verità aestheticthat develops a broad spectrum of musical and dramatic facets. The tragic love affair between King Gustaf III. and Amelia, who resembles a fate, is contrasted with the radiant court atmosphere, especially represented by the page Oskar. The dramatic climax is the finale of the third act: the conspirators, Count René Anckarström, also meet at the masked ball of the court society, the two storylines interpenetrate. The disaster unfolds against the backdrop of elegant dance music. The last encounter between Amelia and Gustaf is accompanied by a stylized minuet, interrupted only once by fearful music when Amelia fears for the life of her lover. The feelings of the two main characters, alternating between desire and agony of conscience, reflect the diversity of the musical design: musical contrasts, sharp dots and syncopation express the intensity of the feelings. Most of the drama takes place in music.

Götz Friedrich and his two outfitters also make it visible and tangible on the stage thanks to their stage design and sophisticated personal direction.

English

Výkonnostní kredity (Obsazení a štáb )

Obsazení

Osádka

Soubor