Organization

Chanteur

Baryton

Borja Quiza

Le mari de la Primadonna

Gabriel Bermúdez

Basse

Carlos Álvarez

Agata Scannagalli

Luis Cansino

Pietro Di Bianco

Biscroma Strappaviscere

Mise en scène

Laurent Pelly

Direction d'orchestre

Evelino Pidò

José Miguel Pérez-Sierra

Lumières

Joël Adam

Costumes

Décors

Chantal Thomas

Direction de choeur

Andrés Máspero

Soprano

Sylvia Schwartz

La seconda donna

Francesca Sassu

Ténor

Xabier Anduaga

Guglielmo Antolstoinoloff

Alejandro del Cerro

Enric Martínez-Castignani

Le Metteur en scène

David Oller

L'impressario

Carol Garcia

Pipetto

Nino Machaidze

Corilla Scortichini

Sabina Puértolas

Piotr Micinski

Luis López Navarro

Le Directeur du Théâtre

Teatro Real de Madrid

Opéra de Lyon

Others

Coro Intermezzo

Orchestra

Orquesta Sinfónica de Madrid

italien

Viva la Mamma

Madrid

Espagne

Teatro Real

Sala Principal

An opera in which the  prima donna  is a baritone? Le convenienze ed inconvenienze theatrical  is an excessively long and discouraging title for an opera too amusing to be forgotten. That must have been what Helmut Käutner thought, the German film director who renamed it  Viva la mamma  in the famous 1969 production for the Rococo theater of Cuvilliés in Munich that forever changed the history of this work. Premiered in Naples in 1827, this theater-within-a-theatre farce shows us the setbacks suffered by a second-rate opera company when staging the great serious drama  Romolo ed Ersilia in a provincial theater., and in which the unbearable tensions between the two main singers will only be resolved through the decisive intervention of the mother of one of them. The co-production of the Opéra de Lyon together with the Grand Théâtre de Genève and the Teatro Real is endorsed by Laurent Pelly, a tireless animator of the Donizetti comedy whose reading of  La fille du regiment  we had the opportunity to enjoy a few years ago.

LE CONVENIENZE ED INCONVENIENZE TEATRALI: Viva la mamma Donizetti

Public

Les conventions théâtrales

espagnol

anglais

Valide

Viva la mamma Donizetti

¿Una ópera en la que la prima donna es un barítono? Le convenienze ed inconvenienze teatrali es un título excesivamente largo y desalentador para una ópera d...

VIVA LA MAMMA! (G. Donizetti) / "Buffone! Or via Maestro, che facciamo? Assisa a piè d'un sacco"

VIVA LA MAMMA! "Buffone! Or via Maestro, che facciamo? Assisa a piè d'un sacco"

An opera where the prima donna is a baritone? Le convenienze ed inconvenienze teatrali is an excessively long and daunting title for an opera of such unrestrained delight. That is likely what German film director Helmut Käutner thought when he renamed it Viva la mamma in the famous 1969 adaptation for the rococo Cuvilliés theatre in Munich, changing the history of this work forever. First seen in Naples in 1827, this farce of a “theatre within a theatre” narrates the mishaps of a second-rate opera company as it stages the great serious drama Romolo ed Ersilia in a provincial theatre. The unbearable tensions between the two lead singers are finally resolved with the decisive intervention of one of their mothers. The co-production by Ópera de Lyon shared with the Grand Theâtre de Genève and Teatro Real is brought to life by Laurent Pelly, a tireless champion of Donizettis comedies, as one recalls from his production of La fille du régiment which we enjoyed some seasons ago.

English

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage

Ensemble

Coproducteur