Name: Adriana Lecouvreur
Start: 2021-04-27T00:00:00.000Z
End: 2021-05-06T00:00:00.000Z
Location: Teatro del Maggio Musicale Fiorentino

Admin

Organization

Festival del Maggio Musicale Fiorentino

Singer

Bass

Alessandro Spina

The Prince of Bouillon

Tenor

Paolo Antognetti

The Abbe of Chazeuil

Antonio Garés

Poisson

Soprano

Maria José Siri

Adriana Lecouvreur

Baritone

Nicola Alaimo

Michonnet

Conductor

Daniel Harding

Set designer

Polina Liefers

Costume designer

Julia Katharina Berndt

Chorus master

Lorenzo Fratini

Choreographer

Anna Olkhovaya

Martin Muehle

Maurizio

Mezzo-soprano

Valentina Corò

Miss Dangeville

Davide Piva

Quinalt

Michele Gianquinto

A major-domo

Stage director

Frederic Wake-Walker

Lighting designer

Marco Faustini

Ksenia Dudnikova

The Princess of Bouillon

Chiara Mogini

Miss Jouvenot

Fondazione del Teatro del Maggio Musicale Fiorentino

Others

Coro del Maggio Musicale Fiorentino

Orchestra

Orchestra del Maggio Musicale Fiorentino

italiană

Florence

Italy

Teatro del Maggio Musicale Fiorentino

The name of Francesco Cilea is inextricably linked to his most famous and most represented work: Adriana Lecouvreur. Fourth of the five operas he composed, Adriana Lecouvreur made her debut on November 6, 1902 at the Teatro Lirico in Milan with an exceptional cast, where alongside the protagonist Angelica Pandolfini the name of Enrico Caruso stood out in the role of the Count of Saxony. The subject is taken from the play of the same name by Eugène Scribe and Ernest Legouvé and tells the story of the famous tragic actress Adrienne Lecouvreur, the undisputed star of the Comédie-Française for over a decade, who died under mysterious circumstances, probably poisoned by a rival in love. For Cilea there are all the elements of certain dramatic effectiveness that can be developed in music, from the passionate story involving Adriana, Maurizio and the princess of Bouillon (Adriana's rival), to the setting in the gallant eighteenth century, painted with grace and levity according to the French model, up to the expedient of the theater within the theater, which allows the protagonist to pass from the recited comedy to the concrete passion in the continuous alternation of reality and fiction

Adriana Lecouvreur Cilea

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