ANNA BOLENA AT THE MET

ティツィアーノ T. Davidson によって —

9 月 26-1 月 9 —

ソプラノのソンドラの Radvanovsky は、声に出して同じ季節、若い力でロイヤルの把握とひどい代償を払うこととしてここに歴史的なチューダー女王のドニゼッティのオペラのすべての 3 つを征服する彼女の探求に乗り出します。ベース Ildar Abdrazakov、王ヘンリー八世、歴史の最も親切な夫一メゾソプラノジェイミー · バートンは、ジェーン・シーモア、キングス・コンソートと理由、女王は彼女の頭を失います。テナー Stephen コステロは、Sir David マクヴィカー演出のグリップ期間生産の女王の愛興味を果たしています。マルコ・ Armiliato を行っています。

世界初演: ミラノ、カルカノ劇場, 1830年。 Met 初演: September 26, 2011. The first of Donizetti’s operas to achieve wide success, Anna Bolena is based on the historical episode of the fall and death of England’s Queen Anne Boleyn, second wife of Henry VIII. While many operas use history as a point of departure for storytelling, アンナ Bolena ほとんどより実写に近いままです。先導的な役割は、ジュディッタ・パスタ、彼女の日の歌うベッリーニの初演も素晴らしい千両役者によって作成されました。ノーマ 次の年では。

クリエイター

ガエターノ・ドニゼッティ (1797–1848) composed about 75 operas in a career abbreviated by mental illness and premature death. Most of his works disappeared from the public eye after his death, but critical and popular opinion of his huge opus has grown considerably over the past 50 years. Felice Romani (1788–1865) was the official librettist of Milan’s Teatro alla Scala and worked with Donizetti on several other operas.

PRODUCTION Sir David McVicar

SET DESIGNER Robert Jones

COSTUME DESIGNER Jenny Tiramani

LIGHTING DESIGNER Paule Constable

CHOREOGRAPHER Andrew George

SETTING

The trial of Anne Boleyn took place on May 15, 1536, and her execution followed four days later. The opera’s first act is set during the weeks leading up to the trial, in Greenwich Castle near London. Act II takes place at the Tower of London, between trial and execution.

MUSIC

One of the most striking characteristics of all of Donizetti’s works is the power and abundance of melody that, in context, reveals a deeper dramatic purpose. Nowhere inアンナ Bolena is this combination more apparent than in the final scene. As Anne awaits her execution, she goes through a variety of emotions and mental conditions, including terror, illusory calm, and confusion bordering on hallucination—all leading to a final climactic outburst that is a masterpiece of musical insight and a superb example of opera’s ability to explore the human dimensions behind history.