Conductor

Andrew Greenwood

Todmorden

United Kingdom

Artist

Approved

2024

2023

2020

2019

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

2003

2002

2001

2000

1999

1998

1997

1996

Individual contributor id

include virtual contributors

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Singer

Contralto

Mezzo-soprano

Soprano

Bass-baritone

Baritone

Bass

Tenor

Alto

Child vocalist

Continuo

Silent

Spoken

Watch the William Tell trailer

• Maria de Rudenz has been described as ‘perhaps the darkest of Donizetti’s tragedies’, which is saying something and may account in part for the opera’s long-standing neglect. It tells the story of how Maria falls in love with Corrado against her father’s wishes and flees with him to Venice. In Venice, Corrado abandons her and heads back to the Rudenz family castle, falling in love this time with Maria’s cousin, Matilde di Wolf. Maria returns to the castle and discovers that her lover is not only going to marry her cousin but is also, in fact, the son of a murderer. On the wedding day of Matilde and Corrado, Maria appears and reveals Corrado’s secret, murders Matilde and commits suicide.  First performed at La Fenice in Venice in 1838, Maria de Rudenz comes in the sequence of Donizetti’s 70 or so operas between Roberto Devereux and Poliuto and is thus a work of the composer’s full mastery. Its unsuccessful premiere may have been one reason Donizetti was quick to rearrange the first-act finale for Poliuto (Wexford patrons who saw that opera at Glyndebourne last summer will perhaps recognise some of the music). As so often with Donizetti, this score has its own tinta, or colour, something most noticeable in the long bass clarinet solo in the prelude to Act 2.  The first modern staging of Maria de Rudenz was given, again at La Fenice, in 1980, and it still awaits a full production in both the United Kingdom and the United States. This autumn’s Irish premiere is the latest in a series of important Donizetti revivals at Wexford, which has played a major role in what remains an ongoing Donizetti renaissance. It is surely no coincidence that Wexford Festival Opera’s lifetime has overlapped with Donizetti’s reversal of fortune – the composer who 65 years ago was all but written off as intellectually disreputable has now regained his rightful place in the operatic canon.

Maria De Rudenz Interviews with Highlights - Wexford Festival Opera 2016

Don Giovanni

La Périchole

Maria Padilla

Die lustigen Weiber von Windsor

Roberto Devereux

Der Wildschütz

Lucrezia Borgia

Die Hochzeit des Camacho

Luisa Miller

Idomeneo

Maria di Rohan

Mignon

Guillaume Tell

La Traviata

La Bohème

Anna Bolena

Aida

Amonasro

L'elisir d'amore

Così fan tutte

Die Zauberflöte

Manon

Příhody lišky Bystroušky

Werther

Les Pêcheurs de perles

Le nozze di Figaro

La Cenerentola

Fidelio

La Fille du régiment

Macbeth

Carmen

The Rake's Progress

Le Villi

Cavalleria rusticana

Adriana Lecouvreur

Attila

Médée

Christina Regina di Svezia

Il trovatore

Turandot

Die Entführung aus dem Serail

Jérusalem

A Midsummer Night's Dream

Maria de Rudenz

Albert Herring

Moralès

Le Dancaïre

Tosca

Cesare Angelotti

Rigoletto

Il Conte di Monterone

La Voce

Il barone Douphol

Zuniga

Der Kaiser von Atlantis

Kaiser Overall

La vie parisienne

Dialogues des Carmélites

La Gioconda

Barnaba

Don Alfonso

Don Carlo (Italian version)

Filippo II

The Miracle, EHWV 151

Andrew Greenwood

Crèdits de representació

Actuacions anteriors destacades

Vídeos d'actuació destacats

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