Tenor

Shinya Kitajima

Cantante

Artist

Approved

2011

2010

2009

Individual contributor id

include virtual contributors

Accordionist

Instrumentista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Continuo

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor/actriz

Bailarín(a)

Chefdirigent Musiktheater

Chorus Director

Compositor(a)

Coreógrafo(a)

Coro

Director(a) coral

Director(a) de escena

Director(a) orquestal

Diseñador(a) de iluminación

Diseñador(a) de sonido

Diseñador(a) de vestuario/Figurinista

Diseñador(a) de video

Dramaturgia

Entrenador(a) vocal

Escenógrafo(a)

Extra

Illustrator

Libretista

Maestro repetidor

Maquillaje

Orchestra Operations

Orquesta

Otro

Peinado

Photographer

Poet

Producción Ejecutiva

Profesor(a)

Radiodifusión

Stage Manager

Traductor(a)

Wig & Makeup Designer

Writer

Writing and performance

Mezzosoprano

Barítono

Contralto

Contratenor

Bajobarítono

Soprano

Bajo

Alto

Papel de hablante

Papel mudo

Vocalista infantil

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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