{"id":15133,"date":"2022-06-21T11:56:32","date_gmt":"2022-06-21T09:56:32","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/spettacolo\/i-due-foscari\/"},"modified":"2023-05-04T11:42:17","modified_gmt":"2023-05-04T09:42:17","slug":"i-due-foscari","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/i-due-foscari\/","title":{"rendered":"I due Foscari"},"content":{"rendered":"\n

Lyrical tragedy in three acts<\/em>Music by Giuseppe VerdiLibretto by Francesco Maria Piave, da Byron<\/p>\n\n

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<\/h3>\n\n

Francesco Foscari<\/em> <\/strong>Franco Vassallo<\/strong>Leon Kim <\/strong>(1, 7)<\/p>\n\n

Jacopo Foscari<\/em> <\/strong>Fabio Sartori<\/strong>Giuseppe Gipali <\/strong>(1, 7)<\/p>\n\n

Lucrezia Contarini<\/em>Angela Meade<\/strong>Marigona Qerkezi <\/strong>(1, 7)<\/p>\n\n

Jacopo Loredano<\/em>Antonio Di Matteo<\/strong><\/p>\n\n

Barbarigo<\/em>Saverio Fiore<\/strong><\/p>\n\n

Pisana<\/em>Marta Calcaterra<\/strong><\/p>\n\n

Fante <\/em>Alberto Angeleri<\/strong>Antonio Mannarino <\/strong>(1, 7)<\/p>\n\n

Servo del Doge<\/em>Filippo Balestra <\/strong>Matteo Armanino <\/strong>(1, 7)<\/p>\n\n

<\/div>\n\n

Conductorand orchestratorRenato Palumbo<\/strong><\/p>\n\n

Director and scenic designerAlvis Hermanis<\/strong><\/p>\n\n

Costume designerKrist\u00ecne Jurj\u00e0ne<\/strong><\/p>\n\n

ChoreographyAlla Sigalova<\/strong><\/p>\n\n

Lighting designerGleb Filshtinsky<\/strong><\/p>\n\n

VideosIneta Sipunova<\/strong><\/p>\n\n

StagingFondazione Teatro Carlo Felice di Genova<\/strong><\/p>\n\n

Orchestra, chorus and Technicians<\/strong>of Opera Carlo Felice Genova<\/strong>ChorusmasterClaudio Marino Moretti<\/strong><\/p>\n\n

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Ballet Training Foundation<\/strong>Dance and Entertainment “For Dance” ETS<\/strong><\/p>\n\n

<\/div>\n\n

Staging directorLuciano Novelli<\/strong>Stage musical directorPaloma Brito<\/strong>R\u00e9p\u00e9titeursSirio Restani<\/strong>, Antonella Poli<\/strong>Stage musical assistantsAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong>other Choir MasterPatrizia Priarone<\/strong>Master to the lightsCaterina Galiotto<\/strong>Master to supertitlesSimone Giusto<\/strong>Head of musical archivesSimone Brizio<\/strong>Scenic directorAlessandro Pastorino<\/strong>Vice scenic directorSumireko Inu<\/strong>Consolle supervisorAndrea Musenich<\/strong>Stage technicians foremanGianni Cois<\/strong>Electrician foremanGiuseppe Carbone<\/strong>Tooling foremanTiziano Baradel<\/strong>Audio\/video foremanWalter Ivaldi<\/strong>Head of tailoring, shoemaking, make-up and wigsElena Pirino<\/strong>Assistant directorLuca Baracchini<\/strong>Shooting choreographyIrina Kashkova<\/strong>Costume design assistantAlexandra Nikolaeva<\/strong>Assistant lighting designerGianni Bertoli<\/strong>Makeup and hair coordinatorRaul Ivaldi<\/strong>Scenes, costumes and propsby Opera Carlo Felice<\/strong>FootwearC.T.C. Pedrazzoli<\/strong>WigsMario Audello<\/strong>SopratitoliPrescott Studio<\/strong><\/p>\n\n

<\/div>\n\n

The opera in brief<\/strong><\/p>\n\n

<\/p>\n\n

By the early 1840s, Verdi was beginning to compose a large number of operas, at a faster pace than in the previous period. Already well-known and relatively established, the composer had then performed five titles, four for La Scala Theater and one for La Fenice Theater. In 1844 Ernani<\/em> was staged in Venice in March; just a month later Verdi set to work composing Due Foscari.<\/em> Thus began the period that would later be called the ‘jail years,’ in which one opera would be followed by the next, eventually producing as many as two or three titles a year.<\/p>\n\n

Already with Ernani<\/em>, Verdi had decided to move toward subjects in which the psychology of the characters was a more central element and continued along the same lines with I due Foscari<\/em>, choosing the theater opera The two Foscari<\/em>, by Byron, published in 1821, a “delicate and very pathetic” subject, which he worked on with librettist Francesco Maria Piave. Byron was inspired by the figure of Franceso Foscari, doge of Venice from 1423 to 1457, taking up the story with some minor changes. Both Byron’s text and Piave’s version see the theme of the conflict between duty and feeling as central.<\/p>\n\n

The protagonists deserve the most psychological insight, starting with Francesco Foscari, a doge and a father, unable to prove the innocence of his son accused of murder, and thus forced to apply the law to his detriment. Jacopo for his part is a character who has some traits of the fallen romantic hero. Inextricably bound to his Venice and his family, unjustly accused, on the one hand he tries to return, to convince his father, to find comfort in the hope of reuniting with his wife and children; on the other hand he is the victim of very negative feelings and suffers the events around him without trying to determine his own fate himself. Similarly, his wife, Lucretia, remains helpless in the face of the reality of the facts and follows the plot developments with growing despair. The counterpart to this trio is the antagonistic figure, Jacopo Loredano, advisor to the Council of Ten and arch enemy of the Foscari. The latter is determined to take revenge on young Foscari, as the murder he was accused of was that of two members of his family. He is in fact the only character in whom there is no conflict: he ardently desires Jacopo’s exile and Francis’ deposition, acts accordingly, with strength and determination, and achieves an overwhelming victory over both.<\/p>\n\n

The main characters Francesco, Jacopo and Lucrezia live in an almost exclusively reflective dimension, their feelings are thus the central element of the action. Precisely in order to emphasize the many emotional facets that are portrayed on stage, Verdi’s approach in the transposition to music was aimed at seeking maximum expressiveness, from the most delicate lyricism devoted to feelings of longing and hope, to the relentless tragic intensity of the most dramatic moments. Although this is one of Verdi’s earliest operas, we can already discern the traits that would characterize his style, both in orchestration and in the use of harmony, and that would make him an immortal composer within a few years. <\/p>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

The conflict between paternal love and love of country, an unjust justice, in the sixth dramatic opera by the genius from Busseto<\/p>\n","protected":false},"featured_media":14042,"template":"","discipline":[202],"season":[123],"tag_spettacoli":[130,132,40],"class_list":["post-15133","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-giuseppe-verdi","tag_spettacoli-i-due-foscari","tag_spettacoli-teatro-carlo-felice"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15133","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show"}],"about":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/types\/show"}],"version-history":[{"count":0,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15133\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/14042"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=15133"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=15133"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=15133"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=15133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}