Artist

Admin

Conductor

Ivo Lipanović

Stage director

Goran Golovko

Set designer

Marin Gozze

Costume designer

Mladen Radovniković

Chorus master

Veton Marevci

Lighting designer

Srđan Barbarić

Video designer

Darko Škrobonja

Singer

Tenor

Max Jota

Richard

Baritone

Matija Meić

Renato

Marko Lasić

Soprano

Julia Radosz

Amelia

Contralto

Terezija Kusanović

Ulrica

Branka Pleština Stanić

Oscar

Neda Aleksić

Bass

Joško Tranfić

Silvano

Vlatko Belas

Mate Akrap

Samuel

Felipe Cudina Begovic

Božo Župić

Špiro Boban

A judge

Goran Velić

A servant of Amelia

Ana Šabašov

Assistant Director

Jelena Bosančić

Lovre Gujinović

Choreographer

Lev Shaposhnikov

Translator

Jasna Žarić

HNK Split

Orchestra

HNK Split Orchestra

Others

HNK Split Choir

Un ballo in maschera -  (A Masked Ball)

Split

Croatia

Un ballo in maschera

Public

A Masked Ball

Approved

If Verdi's Krabuljni ples was only "a love story with a political conspiracy in the background", that would certainly have ensured its initial intrigue, but certainly not the popularity that could have given it only the musical-scenic opulence characteristic of his entire oeuvre, which is adorned here with even unattainable elegance, airiness and sophistication of the entire score. In addition, the eternal emphasis on the fact that people like to hide, that is, that they skillfully hide behind various masks, at the level of the libretto, enabled Verdi to skillfully vary and grade the theme of betrayal as a background but dominant line that guides the entire action. Because, as it is on the occasion of the Krabulj dancealready noted, "there is no person in this opera who does not carry betrayal on his back. A king betrays a friend because he seduces his wife, a woman betrays her husband, because he has engaged in an immoral relationship, a friend betrays a king, because he wants to kill him out of revenge", but, on top of all that, Verdi, as always, looks for and finds ways to betray the theme of love and the theme , that is, the conspiracy theme, as the two leitmotifs of the entire opera, he connects and executes as a work that, despite constant and numerous contrasts, has its own characteristic color ( tinta musicale ), which is equally reflected in Verdi's other most successful operas.

English

Da je Verdijev Krabuljni ples samo “ljubavna priča s političkom urotom u pozadini“, to bi joj svakako osiguralo početnu intrigantnost, ali svakako ne i popularnost kakvu joj je mogla dati samo glazbeno-scenska raskoš karakteristična za cijeli njegov opus kojega ovdje krase još i nedostižna elegancija, prozračnost i istančanost cjelokupne partiture. K tome, vječno isticanje činjenice da su ljudi rado zakrabuljeni, odnosno da se vješto skrivaju iza raličitih maski, na razini libreta omogućila je Verdiju da vješto varira i gradira temu izdaje kao pozadinsku ali dominantnu liniju koja vodi cijelu radnju. Jer, kao što je povodom Krabuljnog plesa već zapažano, ”u ovoj operi nema osobe koja ne bi izdaju nosila na svojim leđima. Kralj izdaje prijatelja jer zavede njegovu ženu, žena izdaje muža, jer se upustio u  nemoralnu vezu, prijatelj izdaje kralja, jer ga iz osvete želi ubiti”, no, povrh svega toga Verdi kao i uvijek traži i pronalazi načina da ljubavnu temu i temu izdaje, odnosno zavjereničku temu, kao dva leitmotiva cijele opere poveže i provede kao djelo koje unatoč stalnim i brojnim kontrastima ima svoju karakterističnu boju (tinta musicale) kojom jednako odišu i druge Verdijeve najuspjelije opere.

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