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.

Vidéos