PROMO_OPERA_OPERA_TR_ESP_FALSTAFF_2019_TODO
Datos
principal

Falstaff

Giuseppe Verdi
listado
Opera
2h 36m
Italian
FULL HD
Spanish
Production

Three of the greatest operas of Giuseppe Verdi were inspired by the admiration he felt towards the genius of William ShakespeareMacbeth, Otello and Falstaff, his final opera and second comedy. It is an ideal work, teaching us to take life lightly and laugh at ourselves, and it comes to the Teatro Real in a new production by the talented master in humor, Laurent Pelly. His most recent productions on this stage have been: La Fille du régiment, Hänsel und Greteland The Golden Cockerel. Daniele Rustioni conducts two markedly Spanish casts, together with the house Chorus and Orchestra.

Commedia lirica en tres actos

Música de Giuseppe Verdi (1813-1901)
Libreto de Arrigo Boito, basado en las obras de teatro Enrique IV (1597) y Las alegres comadres de Windsor (1601) de William Shakespeare
 
Estrenada en el Teatro Alla Scala, el 9 de febrero de 1893
Estrenada en el Teatro Real el 10 de febrero de 1894

Coproducción Teatro Real con el Teatre Royal de La Monnaie de Bruselas, Opéra National de Bordeaux, la Tokyo Nikikai Opera Foundation y Neoescenografía S.L.


Coro y Orquesta Titulares del Teatro Real
(Coro Intermezzo / Orquesta Sinfónica de Madrid)

Equipo Artístico

Director musical I Daniele Rustioni

Director de Escena y Figurines I Laurent Pelly

Escenografía I Barbara de Limburg

Iluminación I Joêl Adam

Director del Coro I Andrés Máspero

Sir John Falstaff  ROBERTO DE CANDIA
Fenton JOEL PRIETO
Dr. Caius CHRISTOPHE MORTAGNE
Bardolfo MIKELDI ATXALANDABASO
Pistola VALERIANO LANCHAS
Mrs. Alice Ford REBECCA EVANS
Ford SIMONE PIAZZOLA
Nannetta RUTH INIESTA
Mistress Quickly DANIELA BARCELLONA
Mrs. Meg Page MAITE BEAUMONT
Comediantes / Actores:

MAGDALENA AIZPURÚA
BEATRIZ BERGAMÍN
ESTRELLA MARTÍN
DINA MEÏER
JOSÉ LUIS ALCEDO WI
DAVID GUIMERA
JORGE SORIA
PABLO VIÑA

RELATED CONTENT

Opera
Arena di Verona
Giuseppe Verdi
Daniel Oren, Arnaud Bernard

“Va pensiero,” the famous chorus from Verdi’s “Nabucco” is often cited as an official national anthem for Italy and proved as much throughout the Risorgimento when the country is battling for its independence from the Austrian.

The choral passage, with its nostalgia for a home lost, was truly emotional and established. Verdi as an composer of the revolutionary movement. So it is no surprise that at the same point, some production of Verdi’s “Nabucco” would be set, not in Babylon, as the libretto originally notes, but during the era where the Hebrews, seeking independence, would be portrayed as Italians and Nabucco and his oppressive babylonians would be Austrian Empire.

Opera
Teatro Real
Giuseppe Verdi
Annina María Espada, Giorgio Germont, Renato Bruson...

In this cinema-inspired and highly poetic staging, Pier Luigi Pizzi brings us Verdi’s great drama to the salons and bedrooms of 1940s Paris. Norah Amsellem, in her magnificent performance as Violetta, is accompanied by José Bros as Alfredo and the great Renato Bruson in the role of Germont, under the masterly baton of Jesús López Cobos.

La Traviata is the third and last opera in the 'popular trilogy’ (together with Rigoletto and Il Trovatore), which marked the start of Giuseppe Verdi’s artistic maturity, and is with good reason one of his most beloved works. It is based on a famous novel by Alexandre Dumas fils, La Dame aux Camélias, telling the sad story of Marie Duplessis, the celebrated Parisian courtesan who died of that quintessentially Romantic disease, tuberculosis. La Traviata was the first opera to tell the unhappy story of a woman brought down by the hypocrisy of bourgeois morality, with an unprecedented level of realism. Violetta Valéry discovers true love with the young Alfredo Germont, but is forced to give him up at the request of his father, Giorgio Germont. Verdi drew upon his own relationship with Giuseppina Strepponi, his future wife and loyal supporter, in this work. Its debut, on 6 March 1853 at La Fenice in Venice, was a failure, largely due to presenting scenes from ordinary life rather than stories about aristocrats and rulers. In this production, which opened the 2003-2004 opera season to great acclaim, Pier Luigi Pizzi set the work in Nazi-occupied Paris, where the characters are living from day to day in a permanent state of war, heightening their passion, the only thing they can hold onto.

Opera
Teatro Real
Giuseppe Verdi
Marcelo Álvarez, Violeta Urmana...

In September 2008 the Neapolitan stage and screen director, Mario Martone, changed the setting of this opera from the late 17th to the 19th century. He believed that Verdi’s story of passion and political rivalry was better suited to the composer’s own era.

In this opera, Verdi breaks free from the strict forms of arias and duets, creating larger ensembles with a more fluid and wide-ranging musical discourse. At the same time, he skilfully uses the conventional forms and styles which were the legacy of French comic opera (the character of Oscar) and of grand opera, connecting them to the tradition of Italian opera.

Verdi’s enormous talent for creating well-rounded characters, his keen sense of drama and endless musical inspiration are all on display in this work, in which he skilfully balances drama and comedy, large ensembles and intimate moments, the bustle of the court and the inner dramas of the protagonists.

Loyalty, treachery and passion are the three fundamental elements of Un Ballo in Maschera. Each one has its own theme which we hear in the overture. Passion, however, is the  over- riding sentiment of the dramatic final scenes.

Gabrielle D’Annunzio said that Un Ballo in Maschera was “the most melodramatic of all operas”.

Opera
Gran Teatre del Liceu
Giuseppe Verdi
Renato Palumbo, Carlos Álvarez, Piotr Beczala

Envidias y conspiraciones, aunque también pasiones amorosas, celos, venganzas y el perdón final confluyen en una obra maestra de Verdi, que despertó las iras y prohibiciones de la censura del momento hasta obligar a compositor y libretista a realizar cambios en la misma: de la Suecia original al lejano Boston.

Vuelve al Liceu el gran tenor polaco Piotr Beczala con uno de sus títulos de cabecera, acompañado por la soprano Keri Alkema. El montaje de Vincent Boussard refuerza el ambiente oscuro y de misterio que rodea la pieza, cuenta con vestuario de Christian Lacroix y la sobriedad escenográfica de Vincent Lemaire, que permite concentrar la atención en el núcleo dramático de la partitura. El reparto, dirigido por un verdadero especialista como Renato Palumbo, presenta además un referente en el canto verdiano: Dolora Zajick.

 

 

Opera
Beijing NCPA
Giuseppe Verdi
HE Hui, Carlo Ventre, Daniela Barcellona...

As one of the most popular masterpieces created by opera master Verdi, Aida is always favored by worldwide opera lovers - the vivid three-dimensional characterization and passionate melodies. The creative team is joined by Italian set designer Ezio Frigerio and costume designer Franca Squarciapino, who were creative members of NCPA's production of Nabucco.

 

Aida was premiered in 1871. The plot focuses on the love story between Ethiopian princess Aida and Egyptian hero Radames. At the choice between love and loyalty for defending the country, the couple is indecisive in a dilemma. The opera is full of strong contrast for emotions: Aida loves with infatuation for motherland and Radames, Radames celebrates victory and decides on 'unjust act', and Egyptian princess Amneris has overbearing desire for Radames. The story features plump texture so that people lament for this beautiful love.

 

In order to achieve accurate representation of regional features and cultural characteristics of the whole storyline, Verdi repeatedly went to museums to watch Egyptian antiquities and asked Egyptian experts for advice. He blends the ancient musical materials into the opera presentation with lively and profound understanding. The grand stage set makes it suitable for outdoor auditoriums.

Opera
Teatro Colón
Giuseppe Verdi
Latonia Moore, María Luján Mirabelli, Riccardo Massi

The opera Aida by Giuseppe Verdi with libretto by Antonio Ghislanzoni is embedded in the Teatro Colón in Buenos Aires from its beginnings. It was the title with which the current building was inaugurated in 1908. Since then it has been performed countless times, with dazzling figures as Enrico Caruso, Beniamino Gigli, Renata Tebaldi and María Callas, among others.

From 1966, the Argentine Roberto Oswald was in charge of the set and costume design and in 1989 was also responsible for the staging, with costumes by Aníbal Lápiz. This classic production of the Argentine house, made entirely in its workshops, was revived in May 2018 to celebrate the 110 years of the building, with a cast that featured the voices of Latonia Moore and Riccardo Massi along with local figures, the Resident Orchestra, Ballet and Choir of the Teatro Colón.

 

Opera
Teatro Real
Giuseppe Verdi
Violeta Urmana, Soloman Howard, Ludmyla Monastyrska...

In the midst of the Bicentennial and 20th anniversary celebrations, the Teatro Real revived one of its most monumental and emblematic productions of its recent history: Aida, by Giuseppe Verdi. It premiered in 1998 with the staging, scenography, and costumes by Hugo de Ana. Now we will see a restored and updated version of one of the most popular operas by the composer from Busseto.


Under the baton of Nicola Luissotti, principal guest musical director of the Teatro Real and Prize for the Best Musical Director Opera XXI for Turandot at Teatro Real.

 

Opera
Teatro Real
Giuseppe Verdi
Marina Rebeka, Michael Fabiano, Sandra Ferrández

La traviata is presented at the Teatro Real in the unique context that we are all experiencing. The opera is presented with fewer rehearsals than normal and with a stage proposal designed to adapt to circumstances. The entire team of the Teatro Real, as well as the artists and the Titular Choir and Orchestra, take on the challenge with an enormous sense of responsibility, a lot of imagination and a great enthusiasm for taking another step towards the normalization of artistic life, encouraging the public and to the citizens to face with courage and positive spirit the new reality in which we find ourselves.

The stage director Leo Castaldi has devised a semi-staged concert version, in collaboration with the light designer Carlos Torrijos and the technical team of the Teatro Real, using elements of props, costumes and characterization from the back of the theatre.

 

 

EXTRAS

Extras
Teatro Real
Giuseppe Verdi
-

Three of the greatest operas of Giuseppe Verdi were inspired by the admiration he felt towards the genius of William ShakespeareMacbeth, Otello and Falstaff, his final opera and second comedy. It is an ideal work, teaching us to take life lightly and laugh at ourselves, and it comes to the Teatro Real in a new production by the talented master in humor, Laurent Pelly. His most recent productions on this stage have been: La Fille du régiment, Hänsel und Greteland The Golden Cockerel. Daniele Rustioni conducts two markedly Spanish casts, together with the house Chorus and Orchestra.

Extras
Teatro Real
Giuseppe Verdi
-

Three of the greatest operas of Giuseppe Verdi were inspired by the admiration he felt towards the genius of William ShakespeareMacbeth, Otello and Falstaff, his final opera and second comedy. It is an ideal work, teaching us to take life lightly and laugh at ourselves, and it comes to the Teatro Real in a new production by the talented master in humor, Laurent Pelly. His most recent productions on this stage have been: La Fille du régiment, Hänsel und Greteland The Golden Cockerel. Daniele Rustioni conducts two markedly Spanish casts, together with the house Chorus and Orchestra.

Extras
Teatro Real
Giuseppe Verdi
-

Three of the greatest operas of Giuseppe Verdi were inspired by the admiration he felt towards the genius of William ShakespeareMacbeth, Otello and Falstaff, his final opera and second comedy. It is an ideal work, teaching us to take life lightly and laugh at ourselves, and it comes to the Teatro Real in a new production by the talented master in humor, Laurent Pelly. His most recent productions on this stage have been: La Fille du régiment, Hänsel und Greteland The Golden Cockerel. Daniele Rustioni conducts two markedly Spanish casts, together with the house Chorus and Orchestra.