Organization

Baryton (+3)

Aksel Daveyan

L'impressario

Acteur

Fritz Fenne

Gaetano

Mise en scène

Mélanie Huber

Décors

Costumes (+1)

Nora Johanna Gromer

Costumes

Lena Hiebel

Lumières

Hans-Rudolf Kunz

Dramaturge

Fabio Dietsche

Direction d'orchestre

Direction d'orchestre (+4)

Adrian Kelly

Mezzo-soprano (+4)

Deniz Uzun

La seconda donna

Soprano (+1)

Anna Aglatova

Corilla Scortichini

Pietro Spagnoli

Le mari de la Primadonna

Baryton (+4)

Ambrogio Maestri

Agata Scannagalli

Mezzo-soprano (+3)

Adriana Bignani Lesca

Dorotea Frescopane

Ténor (+3)

Andrew Owens

Guglielmo Antolstoinoloff

Basse (+4)

Stanislav Vorobyov

Le Metteur en scène

Basse (+2)

Amin Ahangaran

Le Directeur du Théâtre

Opernhaus Zürich

Orchestra

Musikkollegium Winterthur

Opernhaus

Italian baritone Ambrogio Maestri is celebrated worldwide for his interpretation of Verdi’s Falstaff, a role he’s also sung to great acclaim at the Opernhaus Zürich. Now he returns in the title role of Gaetano Donizetti’s farce about the theater, Viva la mamma. The vocally- and theatrically-challenging role of the quirky artist’s mother, Mamma Agata – who brings the already-zany business of putting on a show to a full boil – fits Maestri to a T.

But why have a baritone sing the role of a mother? Swiss director Mélanie Huber and author Stephan Teuwissen found an answer to that question, and have brought Donizetti’s opera to the stage in their own way. In their interpretation, the composer, frazzled by fever and madness, also makes an appearance. Gaetano – who tends towards the dramatic, but is still a poetic and inspired dreamer – gets a junior-grade devil to grant him one last wish just before his death: a performance of his opera pastiche Sitten und Unsitten des Theaters – or, Conventions and Unconventions of the Theater. The devil decides to get in on the action, and before he knows it, he’s been saddled with the leading role of Mamma Agata. Opposite her are a smug prima donna with a pushy husband, a few second- and third-rate singers, a German tenor, and three gentlemen from the theater management who are desperately trying to keep the threads of fate, and the opera, in their hands. As one might expect, the rehearsals get completely derailed, and poor Gaetano must watch as his work devolves into a hectic devil’s kitchen.

«Opernwelt» magazine wrote that Mélanie Huber «places the performers in humorous costumes that recall Donizetti’s time, and lets them loose on each other in well-managed chaos». This marks the first operatic production by the Swiss director, which was premiered by the International Opernstudio in Winterthur. Now, this successful production heads to the main stage of the Opernhaus Zürich.

italien

Viva La Mamma

Zurich

Suisse

Viva La Mamma: Le convenienze ed inconvenienze teatrali Donizetti

Staged

Opéra

Les conventions théâtrales

allemand

anglais

VIVA LA MAMMA«Le convenienze ed inconvenienze teatrali»Dramma giocoso in einem Akt von Gaetano Donizetti (1797-1848)Libretto von Domenico GilardoniNeueinrich...

Valide

Viva La Mamma

Distribution

L'impresario

Gaetano

Luigia Scannagalli

Corilla Scortichini

Procolo Cornacchia

Agata Scannagalli

Dorotea Frescopane

Guglielmo Antolstoinoloff

Prospero Salsapariglia

Direttore del teatro

Équipage

Mise en scène

Direction d'orchestre

Décors

Costumes

Lumières

Dramaturge

Instrumentation

Producteur

Producteur

Ensemble

Orchestre

Coproducteur

Vidéos liées

Photos

À propos de

Compositeur

Livret

Description

Synopsis de la Production