
Giacomo Puccini

Mieczysław Weinberg

Giuseppe Verdi

Pyotr Tchaikovsky

Giuseppe Verdi

Wolfgang Amadeus Mozart

Benjamin Britten

Grigory Frid. Udo Zimmermann

Carl Maria von Weber — Gustav Mahler

Nikolai Rimsky-Korsakov

Alexander Tchaikovsky

Giacomo Puccini

Alexander Dargomyzhsky

Richard Strauss

Wolfgang Amadeus Mozart

Giuseppe Verdi

Antonín Dvořák

Dmitri Shostakovich

Gaetano Donizetti

Pyotr Tchaikovsky

Sergei Banevich

Wolfgang Amadeus Mozart

George Frideric Handel

Georges Bizet

Pyotr Tchaikovsky

Gioachino Rossini

Dimitry Rostovsky

Giacomo Puccini

Richard Wagner

Richard Strauss

Nikolai Rimsky-Korsakov

Georges Bizet

Dmitri Shostakovich
Alexei Verstovsky

Anton Rubinstein

Wolfgang Amadeus Mozart

Georg Philipp Telemann

Pyotr Tchaikovsky
Guiseppe Verdi

Sergei Prokofiev

Modest Mussorgsky

Antonio Salieri

Gaetano Donizetti

Benjamin Britten. Camille Saint-Saëns

Pyotr Tchaikovsky

Wolfgang Amadeus Mozart

Gioacchino Rossini

Dmitri Shostakovich
Umberto Giordano

Modest Mussorgsky
Hector Berlioz

Giacomo Puccini

Jacques Offenbach

Sergei Prokofiev. Maurice Ravel

Wolfgang Amadeus Mozart

Nikolai Rimsky-Korsakov

Tatiana Kamysheva

In 1857 Giuseppe Verdi received a proposal from the Theatre of San Carlo in Naples. The composer longed to create an opera based on Shakespeare’s tragedy King Lear. However, the theatre could not invite the singers who, according to Verdi, would be able to realise his conception. So, Un Ballo in Maschera was a compromise. An effective plot about the murder of Swedish King Gustave III had already been tested with the audience: in 1833 Daniel Auber created an opera from the libretto by Eugène Scribe, a French dramaturg, which was based on the same story. The cast also was suitable for a typical troupe of an Italian opera theatre.
The story has all the necessary qualities to compel public attention. There is a twisting plot that draws a love triangular into a political conspiracy. It has colourful characters, strong passions, tense situations and impressive stage effects like a witchcraft scene, a love duet in the night field, where the executions take place, or a murder against a masquerade background. “A brilliant drama that totally fits into the morals of our time” as Giuseppe Verdi said of it himself.
Premiered on April 20, 2018.
Presented with two intervals.
Libretto by Antonio Somma based on the text by Augustin Eugène Scribe
with the technical support in graphic and production design of GIÒ FORMA
Sunday, 14:00
Saturday, 19:00
Friday, 19:00
Thursday, 19:00
Wednesday, 19:00
Act I
Richard, Count of Warwick, English governor of Massachusetts, receives visitors in his residence. Among his court officials who praise their governor are Samuel and Tom who connive to murder Richard. Oscar, the page, brings Richard a list of invitations to a ball; it includes the name of Amelia, whom Richard is secretly in love with despite her being married to his friend and secretary, Renato.
When petitioners leave, Renato comes and warns Richard of a plot against him. He wants Richard to be cautious, but the Count refuses to arrest the conspirators or even to learn their names. The Supreme Judge comes with a proposal to expel Ulrica the fortuneteller. Oscar makes a passionate speech in her defense, and Richard decides to visit Ulrica himself. He invites his court to join him and have fun in disguise.