Il viaggio a Reims Sua Jo als Madama Cortese, Jan Antem als Don Alvaro, Mané Galoyan als Corinna, Philipp Jekal als Barone di Trombonok, Alexandra Ionis als Maddalena, Ya-Chung Huang als Zefirino |
Gioacchino Rossini: Il viaggio a Reims
Premierenstimmen: Il viaggio a Reims
Il viaggio a Reims – Making-Of
Highlight: Arpa gentil che fida [Il viaggio a Reims]
Il viaggio a Reims - Finale
Il viaggio a Reims Ya-Chung Huang als Zefirino, Davia Bouley als Delia, Sua Jo als Madama Cortese, Samueol Park als Antonio |
Il viaggio a Reims Ya-Chung Huang als Zefirino, Davia Bouley als Delia, Alexandra Ionis als Maddalena, Juan de Dios Mateos als Il Conte di Libenskof, Modestina als Arianna Manganello, Maria Barakova als Marchesa Melibea |
Il viaggio a Reims Ya-Chung Huang als Zefirino, Alexandra Ionis als Maddalena, Padraic Rowan als Don Prudenzio, Sua Jo als Madama Cortese, Davia Bouley als Delia, Samueol Park als Antonio |
Il viaggio a Reims Sua Jo als Madama Cortese, Marina Monzò als Contessa di Folleville, Samueol Park als Antonio, Davia Bouley als Delia, Ya-Chung Huang als Zefirino, Juan de Dios Mateos als Il Conte di Libenskof, Modestina als Arianna Manganello |
Il viaggio a Reims Alexandra Ionis als Maddalena, Padraic Rowan als Don Prudenzio, Marina Monzò als Contessa di Folleville, Philipp Jekal als Barone di Trombonok |
Il viaggio a Reims u. a. Padraic Rowan als Don Prudenzio, Marina Monzò als Contessa di Folleville, Philipp Jekal als Barone di Trombonok, Sua Jo als Madama Cortese |
Il viaggio a Reims Andrei Danilov als Cavaliere Belfiore, Maria Barakova als Marchesa Melibea, Jan Antem als Don Alvaro |
Il viaggio a Reims Juan de Dios Mateos als Il Conte di Libenskof, Maria Barakova als Marchesa Melibea, Jan Antem als Don Alvaro, Padraic Rowan als Don Prudenzio, Philipp Jekal als Barone di Trombonok, Biagio Pizzuti als Don Profondo, Sua Jo als Madama Cortese, Ya-Chung Huang als Zefirino, Alexandra Ionis als Maddalena, Davia Bouley als Delia, Modestina als Arianna Manganello |
Il viaggio a Reims Mané Galoyan als Corinna |
Highlight: „Ah! perché la conobbi?“ [Il viaggio a Reims]
Il viaggio a Reims u. a. Andrei Danilov als Cavaliere Belfiore |
Highlight: „Medaglie incomparabili“ [Il viaggio a Reims]
Il viaggio a Reims Maria Barakova als Marchesa Melibea, Juan de Dios Mateos als Il Conte di Libenskof |
Il viaggio a Reims Davia Bouley als Delia, Andrei Danilov als Cavaliere Belfiore, Sua Jo als Madama Cortese |
Il viaggio a Reims u. a. Jan Antem als Don Alvaro |
Il viaggio a Reims Davia Bouley als Delia, Biagio Pizzuti als Don Profondo, Marina Monzò als Contessa di Folleville, Andrei Danilov als Cavaliere Belfiore, Juan de Dios Mateos als Il Conte di Libenskof, Maria Barakova als Marchesa Melibea, Jan Antem als Don Alvaro, Ya-Chung Huang als Zefirino |
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Our Christmas special
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Il viaggio a Reims
Deutsche Oper Berlin
Duration: 2 hrs 45 mins / one interval
Event location
Deutsche Oper Berlin Bismarckstraße 35 10627 Berlin [ Charlottenburg ] www.deutscheoperberlin.de Gioacchino Rossini (1792 – 1868)
About the work
A motley group of travellers on their way to Reims for the coronation of Charles X is billeted in the Hotel zur Goldenen Lilie. But when it transpires that no fresh horses are available for the stage coach, they realise they’re stranded.
In IL VIAGGIO A REIMS Gioacchino Rossini and his librettist Luigi Balochi present a chamber-piece setting in which the story’s 14-strong ensemble of equally-ranked main characters introduce themselves with a raft of original and perfectly executed arias in a situation of uncertainty and time-biding. ...
A motley group of travellers on their way to Reims for the coronation of Charles X is billeted in the Hotel zur Goldenen Lilie. But when it transpires that no fresh horses are available for the stage coach, they realise they’re stranded.
In IL VIAGGIO A REIMS Gioacchino Rossini and his librettist Luigi Balochi present a chamber-piece setting in which the story’s 14-strong ensemble of equally-ranked main characters introduce themselves with a raft of original and perfectly executed arias in a situation of uncertainty and time-biding. ...
About the work
A motley group of travellers on their way to Reims for the coronation of Charles X is billeted in the Hotel zur Goldenen Lilie. But when it transpires that no fresh horses are available for the stage coach, they realise they’re stranded.
In IL VIAGGIO A REIMS Gioacchino Rossini and his librettist Luigi Balochi present a chamber-piece setting in which the story’s 14-strong ensemble of equally-ranked main characters introduce themselves with a raft of original and perfectly executed arias in a situation of uncertainty and time-biding. The reason for travelling in the opera is the same as Rossini’s motive for writing it: Rossini, whose international reputation had preceded his move to Paris, was commissioned to write an opera as part of the festivities celebrating the coronation of Charles X in 1825, the climax of which would be the premiere of his work. As IL VIAGGIO A REIMS was inextricably linked to the coronation, Rossini considered that the work had a certain shelf life. He referred to the opera as a cantata and did not hesitate to use stretches of its music in one of his French operas, LE COMTE ORY. As a result the work slipped from the programmes and did not surface again until the 1980s, when Claudio Abbado staged it in Pesaro. And we can be thankful, because the opera – Rossini’s last in Italian – is a gem, despite the off-the-cuff circumstances of its composition, with the brilliance of the score and the over-the-top absurdity of the humour. This is Rossini at the pinnacle of Italian opera buffa.
Some background trivia on the characters in IL VIAGGIO A REIMS: some of them had featured in the much-read novel by Madame de Stäel, “Corinne ou l’Italie”. Yet they also represent a cross-section of 19th-century Europe converging on Reims to pay their respects to the new French king – and each a deliberate stereotype rather than a fully rounded character.
About the production
Director Jan Bosse goes to town with the rather absurd premise of Europeans holed up in a spa hotel. A room of mirrors variously serving as spa clinic, sanatorium and lunatic asylum is the setting for the stalled journey of the characters, who are keen to live up to their respective national characteristics, try to best each other in coloratura warbling and end up planning their own celebratory feast.
A motley group of travellers on their way to Reims for the coronation of Charles X is billeted in the Hotel zur Goldenen Lilie. But when it transpires that no fresh horses are available for the stage coach, they realise they’re stranded.
In IL VIAGGIO A REIMS Gioacchino Rossini and his librettist Luigi Balochi present a chamber-piece setting in which the story’s 14-strong ensemble of equally-ranked main characters introduce themselves with a raft of original and perfectly executed arias in a situation of uncertainty and time-biding. The reason for travelling in the opera is the same as Rossini’s motive for writing it: Rossini, whose international reputation had preceded his move to Paris, was commissioned to write an opera as part of the festivities celebrating the coronation of Charles X in 1825, the climax of which would be the premiere of his work. As IL VIAGGIO A REIMS was inextricably linked to the coronation, Rossini considered that the work had a certain shelf life. He referred to the opera as a cantata and did not hesitate to use stretches of its music in one of his French operas, LE COMTE ORY. As a result the work slipped from the programmes and did not surface again until the 1980s, when Claudio Abbado staged it in Pesaro. And we can be thankful, because the opera – Rossini’s last in Italian – is a gem, despite the off-the-cuff circumstances of its composition, with the brilliance of the score and the over-the-top absurdity of the humour. This is Rossini at the pinnacle of Italian opera buffa.
Some background trivia on the characters in IL VIAGGIO A REIMS: some of them had featured in the much-read novel by Madame de Stäel, “Corinne ou l’Italie”. Yet they also represent a cross-section of 19th-century Europe converging on Reims to pay their respects to the new French king – and each a deliberate stereotype rather than a fully rounded character.
About the production
Director Jan Bosse goes to town with the rather absurd premise of Europeans holed up in a spa hotel. A room of mirrors variously serving as spa clinic, sanatorium and lunatic asylum is the setting for the stalled journey of the characters, who are keen to live up to their respective national characteristics, try to best each other in coloratura warbling and end up planning their own celebratory feast.
Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.
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Event location
Deutsche Oper Berlin Bismarckstraße 35 10627 Berlin [ Charlottenburg ] www.deutscheoperberlin.de Event location - Conductor
- Director
- Stage design
- Costume design
- Light design
- Video
- Corinna
- Marchesa Melibea
- Contessa di Folleville
- Madama Cortese
- Cavalier Belfiore
- Il Conte di Libenskof
- Lord Sidney
- Don Profondo
- Barone di Trombonok
- Don Alvaro
- Don Prudenzio
- Zefirino
- Maddalena
- Modestina
- Delia
- Antonio
- Orchestra
