{"id":28378,"date":"2024-06-07T11:40:02","date_gmt":"2024-06-07T09:40:02","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/?post_type=show&p=28378"},"modified":"2025-04-05T08:30:13","modified_gmt":"2025-04-05T06:30:13","slug":"die-liebe-der-danae","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/die-liebe-der-danae\/","title":{"rendered":"Die Liebe der Danae"},"content":{"rendered":"\n
<\/div>\n\n

Joyous Mythology in three acts by Richard Strauss<\/strong>, libretto by Joseph Gregor<\/p>\n\n

A new production by Fondazione Teatro Carlo Felice di Genova<\/strong><\/p>\n\n

Italian premiere of the original version<\/strong>with Italian artistic ensembles<\/strong><\/p>\n\n

<\/div>\n\n

Characters and interpreters:<\/em><\/p>\n\n

Jupiter<\/em>Scott Hendricks<\/strong><\/p>\n\n

Merkur<\/em>Timothy Oliver<\/strong><\/p>\n\n

Pollux<\/em>Tuomas Katajala<\/strong><\/p>\n\n

Danae<\/em>Angela Meade<\/strong><\/p>\n\n

Xanthe<\/em>Valentina Farcas<\/strong><\/p>\n\n

Midas<\/em>John Matthew Myers<\/strong><\/p>\n\n

Erste K\u00f6nig<\/em>Albert Memeti<\/strong><\/p>\n\n

Zweite K\u00f6nig<\/em>Eamonn Mulhall<\/strong><\/p>\n\n

Dritte K\u00f6nig<\/em>Nicolas Legoux<\/strong><\/p>\n\n

Vierte K\u00f6nig<\/em>John Paul Huckle<\/strong><\/p>\n\n

Semele<\/em>Anna Graf<\/strong><\/p>\n\n

Europa<\/em>Agnieszka Adamczak<\/strong><\/p>\n\n

Alkmene<\/em>Hagar Sharvit<\/strong><\/p>\n\n

Leda<\/em>Valentina Stadler<\/strong><\/p>\n\n

Vier W\u00e4chter<\/em>Domenico ApollonioBernardo Pellegrini\/Davide Canepa<\/strong> (13, 16)Luca RomanoAndrea Scannerini<\/strong><\/p>\n\n

Eine Stimme<\/em>Valeria Saladino<\/strong><\/p>\n\n

<\/div>\n\n

ConductorMichael Zlabinger<\/strong><\/p>\n\n

DirectorLaurence Dale<\/strong><\/p>\n\n

Scenes and costumesGary McCann<\/strong><\/p>\n\n

LightingJohn Bishop<\/strong><\/p>\n\n

Choreographer and assistant directorCarmine De Amicis<\/strong><\/p>\n\n

Assistant costume designerGabriella Ingram<\/strong><\/p>\n\n

Orchestra, Chorus and Technicians of the Opera Carlo Felice Genova<\/strong>Choirmaster Claudio Marino Moretti<\/strong>Ballet Fondazione Formazione Danza e Spettacolo \u2018For Dance\u2019 ETS<\/strong><\/p>\n\n

DancersDaniele Bracciale<\/strong>, Luca Cappai<\/strong>Simone Cristofori<\/strong>, Giuseppe Sanniu<\/strong><\/p>\n\n

MimesErika Melli<\/strong>, Roberto Pierantoni<\/strong><\/p>\n\n

Mime acrobatDavide Riminucci<\/strong><\/p>\n\n

<\/div>\n\n

Stage DirectorLuciano Novelli<\/strong><\/p>\n\n

Stage musical directorSimone Ori<\/strong><\/p>\n\n

Hall MastersSirio Restani<\/strong>, Antonella Poli<\/strong><\/p>\n\n

Stage MastersAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong><\/p>\n\n

other Choir MasterPatrizia Priarone<\/strong><\/p>\n\n

Lighting MasterLuca Salin<\/strong><\/p>\n\n

Master of supertitlesSimone Giusto<\/strong><\/p>\n\n

Music archive managerSimone Brizio<\/strong><\/p>\n\n

Stage directorAlessandro Pastorino<\/strong><\/p>\n\n

Deputy stage managerSumireko Inui<\/strong><\/p>\n\n

Console Handling ManagerAndrea Musenich<\/strong><\/p>\n\n

Engineer foremanGianni Cois<\/strong><\/p>\n\n

Foreman electricians\/lighting boothMarco Gerli<\/strong><\/p>\n\n

Tooling foremanTiziano Baradel<\/strong><\/p>\n\n

Head of audio\/video departmentWalter Ivaldi<\/strong><\/p>\n\n

Head of tailoring, shoemaking, make-up and wigsElena Pirino<\/strong><\/p>\n\n

Make-up and hair co-ordinatorRaul Ivaldi<\/strong><\/p>\n\n

Assistant directorLydia Rotter<\/strong><\/p>\n\n

Stage AssistantGloria Bolchini<\/strong><\/p>\n\n

Sets, props and costumesFondazione Teatro Carlo Felice<\/strong><\/p>\n\n

EquipmentE.<\/strong> Rancati<\/strong><\/p>\n\n

FootwearEpoca<\/strong><\/p>\n\n

WigsAudello Teatro<\/strong><\/p>\n\n

Supertitles byEnrica Apparuti<\/strong><\/p>\n\n

<\/div>\n\n

Opera in brief<\/strong>by Ludovica Gelpi<\/p>\n\n

Die Liebe der Danae<\/em> (Danae\u2019s Love<\/em>) is the last great work by Richard Strauss. He began composing it at the end of the 1930s, working together with the librettist Joseph Gregor, who adapted a draft libretto already written for Strauss by Hugo von Hofmannsthal in 1920, entitled Danae, or the Marriage of Convenience.<\/em> It was a gay mythology in three acts. As is well known, the composer had already been inspired by the world of Ancient Greece in the past, just think of the well-known examples of titles such as Elektra<\/em> and Die \u00e4gyptische Helena<\/em>, given the historical contingencies, the choice of comic genre is surprising. During that period the rise of Nazism had profoundly shocked Strauss, who witnessed the profound socio-political and cultural upheavals of his beloved Germany, which was now unrecognisable to him. Die Liebe der Danae<\/em> was completed in June 1940. The first performance should have been held at the Salzburg Festival in August 1944, but only a few weeks before, due to the assassination attempt on Hitler, Goebbels closed all the theatres. Exceptionally, a closed-door dress rehearsal was allowed, in the presence of a small number of guests including the composer, and conducted by Clemens Krauss. Strauss hoped that he, the musicians and the performers would be able to stage Danae<\/em> again in better times, but unfortunately this hope was not fulfilled, as the composer died in 1949. Danae<\/em> would finally be presented to the general public only three years later, again at the Salzburg Festival and conducted by Krauss, on 14th August 1952. The story mainly revolves around three protagonists: Danae, daughter of the indebted King Pollux, is mysteriously fascinated by the dream of a golden rain that covers her and fills her with joy. Jupiter is obsessed with the idea of winning her over, and Midas, in the past a modest donkey herder, is now transported to a world of shining palaces and supernatural powers according to Jupiter’s plans. None of the three have a comic connotation, it is mainly Pollux, the four kings and the four queens that create a comic framework. The character of Danae, deeply lyrical, is characterised by the enigma that her feelings represent (In the depths of the soul, \/ inaccessible, \/ enigma for the god, \/ enigma for man \/ lies the love of Danae). Jupiter is unusually multi-faceted on a psychological level, domineering and quick-tempered, eager to conquer Danae, but also sincerely in love and, particularly in the third act, vulnerable. Midas is the most \u2018classic\u2019 of operatic characters, the tenor in love, at first at the mercy of Jupiter’s will and then ready to challenge the god and lose his power to remain with his beloved Danae. The dramatic development is unusual in that the opera was initially supposed to end with the first two acts. Towards the end of the second act, Danae has to choose between the sincere love of Midas and the promises of wealth made to him by Jupiter. The climax of tension is resolved when she utters Midas’s name, and the plot is resolved in itself. The third act is an unexpected dramatic and musical space, yet a place of fundamental reflection in the economy of the whole. Jupiter seeks one last contact with Danae, assumes the guise of a traveller and visits her in the hut where she and Midas live in poverty. When Danae, despite everything, declares that she is still in love with Midas, Jupiter renounces her forever and blesses her. This ending has a significant impact both for the characterisation of Jupiter and for the way in which the themes of love and poverty are treated, themes that are not typical of a mythological tale but rather of a parable of Christian inspiration.Strauss’ writing very effectively encapsulates the expression of his own artistic journey and therefore the aesthetics of that German culture that seemed to have been lost by then. There is no reference to the twentieth-century avant-garde that had already developed extensively in Europe in the 1920s and 1930s. Rich sound combinations, articulated lines and textures, shining and golden like the rain that Danae sees falling on her in her dream, combine in the evocative scope typical of Strauss’s music, the \u2018sensual materiality\u2019 that distinguishes it. The composer’s bond with that exquisitely German and late 19th-century cultural climate is indissoluble, and here he seems to bid farewell to it, at the end of his time, with an outburst of intense vitality. A luminous celebration of the sense of the end. <\/p>\n\n

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