Organization

Певец

Баритон

Borja Quiza

Проколо Корнаккья

Gabriel Bermúdez

Бас

Carlos Álvarez

Агата Сканагалли

Luis Cansino

Pietro Di Bianco

Бискрома Страппавишере

Режиссер-постановщик

Laurent Pelly

Дирижер

Evelino Pidò

José Miguel Pérez-Sierra

Художник по свету

Joël Adam

Художник по костюмам

Художник-постановщик

Chantal Thomas

Хормейстер

Andrés Máspero

Сопрано

Sylvia Schwartz

Луиджа Сканнагалли

Francesca Sassu

Тенор

Xabier Anduaga

Гульельмо Антолстойнолофф

Alejandro del Cerro

Enric Martínez-Castignani

Просперо Сальсапарилья

David Oller

Импрессарио

Carol Garcia

Пипетто Фрескопане

Nino Machaidze

Корилла Скортикини

Sabina Puértolas

Piotr Micinski

Luis López Navarro

Директор театра

Teatro Real de Madrid

Opéra de Lyon

Others

Coro Intermezzo

Orchestra

Orquesta Sinfónica de Madrid

итальянский

Viva la Mamma

Мадрид

Испания

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.

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