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Hungarian State Opera

Conductor

Conductor (+3)

Gergely Kesselyák

Stage director

Stage director (+2)

Fabio Ceresa

Set designer

Set designer (+2)

Tiziano Santi

Costume designer

Costume designer (+1)

Giuseppe Palella

Choreographer

Choreographer (+1)

Mattia Agatiello

Lighting designer

Ferenc Stadler

Dramaturge

Dramaturge (+2)

Eszter Orbán

Chorusmaster

Chorusmaster (+7)

Gábor Csiki

Bass (+4)

Géza Gábor

Bass (+3)

András Kiss

Samuel

Baritone (+3)

Máté Fülep

Silvano

Baritone (+4)

Lőrinc Kósa

A servant of Amelia

A judge

Orchestra

Orchestra of the Hungarian State Opera House

Hungarian State Opera House

Translator

Translator (+2)

Arthur Roger Crane

Chorus

Chorus of the Hungarian State Opera

Tenor (+5)

Boldizsár László

Richard

Attila Mokus

Renato

Soprano (+1)

Adrienn Miksch

Amelia

Mezzo-soprano (+2)

Erika Gál

Ulrica

Soprano (+2)

Eszter Zemlényi

Oscar

Tenor (+3)

Adorján Pataki

Baritone (+2)

Károly Szemerédy

Zsuzsanna Ádám

Ildikó Komlósi

Zita Szemere

The subject of this work sparked Verdi's fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story's background are visceral emotions of unrequited love and blind jealousy that move the plot along.

Iodáilis