Tenor

Shinya Kitajima

Singer

Artist

Approved

2011

2010

2009

Individual contributor id

include virtual contributors

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

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Mandoline Player

Musette de cour Player

Oboist

Organist

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Saxophonist

Tenor Violinist

Timpani

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Viola Pomposa Player

Viola da gamba

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Violinist

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Violist

Actor

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Chefdirigent Musiktheater

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Writing and performance

Bass-baritone

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Mezzo-soprano

Countertenor

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Continuo

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Conductor - Nello Santi Staging - David Pountney Stage design - Raimund Bauer Costumes - Marie-Jeanne Lecca Lighting design - Jürgen Hoffmann Choir master - Jürg Hämmerli Choreography - Beate Vollack Orchestra - Orchestra of the Zurich Opera Choir - Choir of the Zurich Opera Ballet - extra ballet With Fiorenza Cedolins (Amelia), Yvonne Naef (Ulrica Arvidson), Sen Guo (Oscar); Piotr Beczala (Gustavo III), Vladimir Stoyanov (Anckarstroem), Thomas Tatzl (Cristiano), Andreas Hörl (Graf Ribbing), Giuseppe Scorsin (Graf Horn), Miroslav Christoff (a judge), Shinya Kitajima (a servant of Amelia) The assassination of the Swedish King Gustav III. In 1792 by a group of aristocrats who had conspired against him at a masked ball in Stockholm first found its way onto the opera stage in a setting by Daniel-François-Esprit Auber. Eugène Scribe wrote the libretto in 1833. 25 years later, Verdi asked the Venetian playwright Antonio Somma to edit the text for a work that he was to write for the Teatro San Carlo in Naples. The premiere, however, failed because of the Neapolitan censorship, which had already caused problems for Verdi in the case of "Luisa Miller". This time the now world-famous composer was no longer ready to allow far-reaching interventions and instead gave the world premiere to the Teatro Apollo in Rome, where the opera was a triumph in 1859. In the Papal States, too, the censorship authority did not want to see the murder of a European monarch portrayed on the open stage; so the action was relocated to 17th century Puritan Boston. In the new Zurich staging, the story is transported back to the historical place where it happened. The core of the opera, however, does not depend on such fixations: disguise and masquerade are omnipresent. The tragic love story between the Swedish king Gustavo and Amelia, the wife of his best friend, is woven into this game within the game. It ends with the regent being killed by Amelia's jealous husband Renato Anckarstroem at the moment when he renounces the forbidden passion. Not only the circumstances of the murder at the eponymous masked ball, but also characters like the fortune teller Ulrica Arvidson or the page Oscar make the opera a dazzling piece in which rousing passion alternates with ironic brokenness and comedy and tragedy interpenetrate. With Nello Santi at the podium, a musical Verdi festival is guaranteed, the scenic shape of which bears the always idiosyncratic signature of David Pountney.

Shinya Kitajima

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