Organization

Conductor

Rodolfo Saglimbeni

Soprano

Marilyn Viloria

1. Anna

Bass

Martín Camacho

Mutter

Orchestra

Orquesta Sinfonica Municipal de Caracas (OSMC)

Die sieben Todsünden -  (The Seven Deadly Sins)

Caracas

Venezuela

Die sieben Todsünden Weill

Public

Private

The Seven Deadly Sins

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

Oboist

hornist

Bassoonist

Trumpeter

Contrabassist

Harper

Trombonist

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Mezzo-soprano

Singer

Baritone

Bass-baritone

Contralto

Tenor

Countertenor

Spoken

Child vocalist

Silent

Alto

Continuo

“The 7 Deadly Sins” addresses the theme of profit ambition, turning Ana into "two sisters": Ana I, the singer, the practical-spirited administrator who restrains any impulse or desire of Ana II, the dancer. They both set out on a seven-year journey through seven different cities in order to accumulate enough money to build a house for their family in Louisiana.

In each villa, her bank account is threatened by the fragile personality of Ana II, provoked by each of the deadly sins. The plot is centered on a psychologically divided woman describing the essence of Ana's femininity.

Each painting represents each of the deadly sins: laziness, pride, anger, gluttony, lust, greed and envy. In bourgeois society, sins assume a meaning opposite to what they originally had. Thus, laziness prevents ascending the social ladder, pride prevents a woman from undressing, anger drives her to oppose injustice, lust moves her to go with a man she likes instead of another who can pay her everything.

Ana I, who represents the rational "I", asks Ana II, the instinctive "I", to submit to all social laws. Having overcome all moral scruples and accepting the rules of the game imposed by bourgeois society, the two sisters get the money to build a house in Louisiana.

The general production and costumes are by Edisson Spinetti; the direction assistance, by Paola Martínez; the lighting design, by Manuel Troconis; and the repertoire, by Sadao Muraki.“The 7 Deadly Sins” addresses the theme of profit ambition, turning Ana into "two sisters": Ana I, the singer, the practical-spirited administrator who restrains any impulse or desire of Ana II, the dancer. They both set out on a seven-year journey through seven different cities in order to accumulate enough money to build a house for their family in Louisiana.

In each villa, her bank account is threatened by the fragile personality of Ana II, provoked by each of the deadly sins. The plot is centered on a psychologically divided woman describing the essence of Ana's femininity.

Each painting represents each of the deadly sins: laziness, pride, anger, gluttony, lust, greed and envy. In bourgeois society, sins assume a meaning opposite to what they originally had. Thus, laziness prevents ascending the social ladder, pride prevents a woman from undressing, anger drives her to oppose injustice, lust moves her to go with a man she likes instead of another who can pay her everything.

Ana I, who represents the rational "I", asks Ana II, the instinctive "I", to submit to all social laws. Having overcome all moral scruples and accepting the rules of the game imposed by bourgeois society, the two sisters get the money to build a house in Louisiana.

The general production and costumes are by Edisson Spinetti; the direction assistance, by Paola Martínez; the lighting design, by Manuel Troconis; and the repertoire, by Sadao Muraki.

English

“Los 7 pecados capitales” aborda el tema de la ambición de lucro, convirtiendo a Ana en "dos hermanas": Ana I, la cantante, la administradora de espíritu práctico que refrena cualquier impulso o deseo de Ana II, la bailarina. Ambas parten a una travesía de siete años por siete ciudades distintas con el fin de acumular suficiente dinero y construir una casa para su familia en Lousiana.

En cada villa, su cuenta bancaria se ve amenazada por la frágil personalidad de Ana II, provocada por cada uno de los pecados capitales. La trama está centrada en una mujer psicológicamente dividida describiendo la esencia de la feminidad de Ana.

Cada cuadro representa a cada uno de los pecados capitales: pereza, soberbia, ira, gula, lujuria, avaricia y envidia. En la sociedad burguesa los pecados asumen un significado opuesto al que tenían originalmente. Así, la pereza impide el ascenso en la escala social, la soberbia impide a una mujer desnudarse, la ira impulsa a oponerse a la injusticia, la lujuria le mueve a ir con un hombre que le gusta en lugar de otro que puede pagarle todo.

Ana I, que representa el “yo” racional, pide a Ana II, el “yo” instintivo, que se someta a todas las leyes sociales. Vencidos todos los escrúpulos morales y aceptadas las reglas del juego impuestas por la sociedad burguesa, las dos hermanas consiguen el dinero para construir una casa en Lousiana.

La producción general y el vestuario son de Edisson Spinetti; la asistencia de dirección, de Paola Martínez; el diseño de iluminación, de Manuel Troconis; y el repertorio, de Sadao Muraki.

español

The Seven Deadly Sins by Weill, Od (2022/2022), Dirigent Rodolfo Saglimbeni

Výkonnostní kredity (Obsazení a tým )

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Soubor

Program, Informace a Synopsis

Fotografie

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Termíny a místa představení

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