Name: Roberto Devereux
Start: 2024-05-31T00:00:00.000Z
End: 2024-06-30T00:00:00.000Z
Location: Grand-Théâtre

Organization

Tenor

Edgardo Rocha

Roberto Devereux

Mert Süngü

Maestro

Stefano Montanari

Diretor de Palco

Mariame Clément

Cenógrafo

Julia Hansen

Estilista

Designer de Iluminação

Ulrik Gad

Dramaturgo

Clara Pons

Designer de Vídeo

Soprano

Elsa Dreisig

Elisabetta

Ekaterina Bakanova

Mezzo-soprano

Stéphanie d'Oustrac

Sara

Aya Wakizono

Barítono

Nicola Alaimo

Il duca di Nottingham

Luca Bernard

Lord Cecil

Baixo

William Meinert

Sir Gualtiero Raleigh

Contralto

Ena Pongrac

Un paggio

Others

Choeur du Grand Théâtre de Genève

Grand Théâtre de Genève

Orchestra

Grand Théâtre de Genève  Orchestra of French-speaking Switzerland

Mestre de Coro

Mark Biggins

francês

Genebra

Suíça

Grand-Théâtre

Roberto Devereux Donizetti

Public

inglês

Approved

Instrumentalist

Pianista

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da Gambist

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Compositor

Libretista

Coreógrafo

Dançarino

Ator

Tradutor

Designer de Som

Repetidor

Maquiador

Produtor executivo

Estilista de cabelo

Other

Stage Manager

Coral

Orquestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Baixo-barítono

Singer

Contratenor

Spoken

Vocalista Infantil

Silent

Alto

Continuo

#gtg #opera #donizetti Une perle de belcanto retrouvée du 31 mai au 30 juin 2024 au Grand Théâtre de Genève :https://www.gtg.ch/saison-23-24/roberto-devereux...

To close our Tudor trilogy, what better than a third lyrical tragedy in which we find Elizabeth I of England, this time in the twilight of her life. There is, of course, an intrigue, led by her favourite Robert Devereux, 2nd Earl of Essex and in historical fact her great cousin by her mother’s sister Mary Boleyn and more or less 30 years her junior. Let us add in passing, for accuracy’s sake, that the second husband of Devereux’s mother was none other than Robert Dudley, the Earl of Leicester, the character around whom Maria Stuarda, the second episode of our trilogy, is triangulated. Here, against a background of tensions between Catholics and Protestants, the royal favourite returns unauthorised by the Queen from his post in Catholic Ireland. In short, the reckless earl was the last to be beheaded (with an axe) in the Tower of London in 1601, which goes to show that morals do seem to be if not changing, then at least evolving.  

Composed and finished by force in 1837, after Gaetano Donizetti lost both his father and mother, his second child and then his wife after the death of the third child she had just given birth to, the opera was a great success in Naples and was performed throughout Italy and Europe until the 1880s before disappearing from the repertoire of opera houses. Until the Donizetti revival in the 1960s with Belcanto divas such as Leyla Gencer, Beverly Sills and more recently Edita Gruberova. The score, as in Anna Bolena, is closely linked to the dramatic action, lifting and accentuating every sigh or gesture of anger of Elizabeth, finally cast as the main character. Donizetti gives an in-depth psychological account, absent from Maria Stuarda, of the innermost desires for love of this solitary woman, a monarch at the end of her life and reign.  

Continuing their exploration into the fictitious character of the so-called Virgin Queen, Mariame Clément and set designer Julia Hansen investigate the entrails of power and the ambiguity between state and private reasons. By bringing the contemporary issues of the characters to the fore, they take them out of the romantic ditch where the bourgeois 19th century had parked them. Here they can give themselves fully, whilst keeping up appearances, to tragedy. The passionate conductor Stefano Montanari will be back with the cast that has been with us for three years now: Elsa Dreisig as the old Queen, Stéphanie d’Oustrac as her rival, Sara Nottingham, and tenor Edgardo Rocha as the eternal favourite. They will be joined by the impressive baritone Nicola Alaimo as the powerful Lord Nottingham.

English

Roberto Devereux by Donizetti, De (2024/2024), Dirigido por Mariame Clément,, Regente Stefano Montanari, Grand-Théâtre, Genebra, Suíça

Créditos do espetáculo (Elenco & Equipe )

Elenco

Equipe

Conjunto

Programa, Sobre & Sinopse

Vídeos

Fotos

Leitura adicional

Datas e locais de apresentação

Locais de Eventos