{"id":15374,"date":"2022-06-20T17:19:51","date_gmt":"2022-06-20T15:19:51","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/spettacolo\/un-ballo-in-maschera\/"},"modified":"2023-05-04T14:48:31","modified_gmt":"2023-05-04T12:48:31","slug":"un-ballo-in-maschera","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/un-ballo-in-maschera\/","title":{"rendered":"Un ballo in maschera"},"content":{"rendered":"\n

Opera in three acts<\/em>Music by Giuseppe VerdiLibretto by Antonio Somma, from Gustave III, ou Le Bal masqu\u00e9<\/em> by Eug\u00e8ne Scribe<\/p>\n\n

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PLAYBILL<\/h3>\n\n

Amelia<\/em>Carmen Giannattasio<\/strong>Maria Teresa Leva <\/strong>(28, 4)<\/p>\n\n

Riccardo<\/em>Francesco Meli<\/strong>Angelo Villari<\/strong> (28, 4)<\/p>\n\n

Renato<\/em>Roberto de Candia<\/strong>Mansoo Kim <\/strong>(28, 4)<\/p>\n\n

Ulrica<\/em>Maria Ermolaeva<\/strong>Agostina Smimmero<\/strong> (29, 3)<\/p>\n\n

Oscar<\/em>Anna Maria Sarra<\/strong>Ksenia Bomarsi <\/strong>(28, 4)<\/p>\n\n

Silvano<\/em>Marco Camastra<\/strong><\/p>\n\n

Samuel<\/em>John Paul Huckle<\/strong><\/p>\n\n

Tom<\/em>Romano Dal Zovo<\/strong><\/p>\n\n

Un<\/em> <\/em><\/strong>giudice<\/em>Giuliano Petouchoff <\/strong><\/p>\n\n

Unservo <\/strong>d\u2019Amelia<\/em>Claudio Isoardi<\/strong><\/p>\n\n

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Conductorand orchestratorDonato Renzetti<\/strong><\/p>\n\n

DirectorLeo Nucci<\/strong>ripresa da Salvo Piro<\/strong><\/p>\n\n

Scenic designerCarlo Centolavigna<\/strong><\/p>\n\n

Costume designerArtemio Cabassi<\/strong><\/p>\n\n

Lighting designerClaudio Schmid<\/strong><\/p>\n\n

StagingFondazione<\/strong> Teatri di Piacenza<\/strong>Teatro Alighieri di Ravenna<\/strong>Teatro Comunale di Ferrara<\/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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TITLE SPONSOR<\/p>\n\n

\"Eni<\/p>\n\n

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Staging directorLuciano Novelli<\/strong>Stage musical directorSimone Ori<\/strong>R\u00e9p\u00e9titeursSirio Restani<\/strong>, Antonella Poli<\/strong>Stage musical assistantsAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong>Other Choir MasterPatrizia Priarone<\/strong>Lighting MasterStefania Zanesco<\/strong>Supertitle MasterBernardo Pellegrini<\/strong>Assistant ConductorDavide Massiglia<\/strong>Head of musical archivesSimone Brizio<\/strong>Scenic directorAlessandro Pastorino<\/strong>Vice scenic director>Giorgio Agostini<\/strong>Consolle supervisorAndrea Musenich<\/strong>Stage technicians foremanGianni Cois<\/strong>Electrician foremanDaniele Malcontenti<\/strong>Tooling foremanTiziano Baradel<\/strong>Audio\/video foremanWalter Ivaldi<\/strong>Head of tailoring, shoemaking,make-up and wigsElena Pirino<\/strong>Make-up and hair co-ordinatorRaul Ivaldi<\/strong>Scenic and costume designFondazione Teatri di Piacenza<\/strong>Teatro Alighieri di Ravenna<\/strong>Teatro Comunale di Ferrara<\/strong>EquipmentFondazione Teatri di Piacenza<\/strong>Teatro Alighieri di Ravenna<\/strong>Teatro Comunale di Ferrara e<\/strong> Rancati<\/strong>FootwearEpoca<\/strong>WigsMario Audello<\/strong>SupertitlesPrescott Studio<\/strong><\/p>\n\n

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L’opera in breve<\/strong>by Ludovica Gelpi<\/em><\/p>\n\n

Verdi’s first drafting idea for Un ballo in maschera<\/em> came in 1857. The composer had seen and liked Daniel Auber’s “French drama” Gustave III ou Le bal masqu\u00e9<\/em> with a libretto by Eug\u00e8ne Scribe, first performed at the Paris Opera in 1833, and decided to make his own version. Previously, the drama had been revived, under the title Il reggente<\/em>, by Saverio Mercadante and Salvadore Cammarano in 1843.<\/p>\n\n

As was often the case in those years, the chosen subject, written by Verdi with librettist Antonio Somma, was not approved by the censors. Verdi was under contract with the Teatro San Carlo in Naples, and it was precisely as a result of repeated and consistent requests for changes that the contract was dissolved, not without consequences that brought the two parties to court, and for which the composer did not conceal bitter disappointment: “A Maestro who respects his art and himself could not and should not disgrace himself by accepting as the subject of a music, written on a very different plane, such oddities that tamper with the most obvious principles of drama and vituperate the artist’s conscience\u00bb. <\/em>Later, Verdi decided to propose the opera in Rome, partly out of spite, given its proximity to Naples, although due to papal censorship several elements of the original still had to be changed. Thus, Gustav III King of Sweden became first a duke and then a governor, under the name of Richard; regarding the setting Antonio Somma suggested 12th-century Pomerania, a proposal not accepted by Verdi, who chose instead the city of Boston in the latter part of the 18th century, at the height of the American War of Independence. Un ballo in maschera<\/em> was first staged at the Teatro Apollo in Rome for Carnival on February 17, 1859. Several aspects of Gustav III’s historical story were retained, and the new setting proved effective, exotic and fascinating. Verdi also wanted to precisely outline the guiding elements for the staging, which was decidedly unusual, with the Stage layout for the opera ‘Un ballo in maschera,’<\/em> written with stage director Giuseppe Cencetti, taking the first performance as a starting point. Such special attention proved necessary because of the very nature of some scenes, in which music and stage action become one.<\/p>\n\n

There are several aspects of this work that depart from earlier production and instead anticipate the style of recent years, so much so that Un ballo in maschera<\/em> could be called an ‘experimental’ work. The opening Prelude anticipates the themes that will return to develop throughout the three acts, and as a whole no single dramatic genre is defined. Varied, tragic, comic, brilliant hues coexist, reflected in the many facets of the characters: Riccardo, a man of complex emotionality, on the one hand a capable and appreciated politician, on the other a fragile man, tormented by his love for his brotherly friend’s wife; Amelia, who would like to love her husband but is overwhelmed by her feelings for Riccardo; Renato, who transfigured by the desire for revenge goes from affection to the deepest hatred; and again the almost caricatured Samuel and Tom, bumbling but stubborn conspirators, and the pageboy Oscar, a character en travesti,<\/em> which owes much to the French operatic tradition. In the finale of Act III, in particular, comic and serious, lightness and tragedy, merge, and amidst the music of the dance party and the dancing guests, the protagonists reach the dramatic climax of the story, in their “night of horror.”<\/p>\n\n

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