Arrangement > Vincenzo Bellini, Norma

VINCENZO BELLINI, NORMA Teatro La Fenice

Norma is Vincenzo Bellini’s third last opera, and probably also the most often per- formed (the famous aria ‘Casta diva’ has been a test bench for the greatest sopranos in the world).
A two-act opera to a libretto by Felice Romani, it debuted at La Scala in December 1831; it combines a dramatic love story – between the protag- onist and the proconsul Pollion, and an equally tragic political situation between the conquered (the Gauls, with Norma as their high-priestess), and the conquerors (the Roman occupation army). With a succession of coup-de-théâtre, in the final climax the heroine, realising she betrayed her own people out of love, sentences herself to the stake, followed by Pollione who is abased but admires the nobility of her gesture. The set for this production is by a contemporary artist and is a spe- cial project of the 56th International Art Exhibition of the Venice Biennale.


YDERLIGERE OPERATIONELLE OPLYSNINGER
info: http://www.teatrolafenice.it/site/index.php?pag=21&spettacolo=22921&lingua=eng
  • Teatro La Fenice - Campo San Fantin, San Marco 1965
    Venezia (VE)

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Since 1792, mythologically risen two times from her ashes. La Fenice Opera House in Venice not just an Opera House but a Legendary Music House in a rococo style in tribute to Apollon.
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Campo San Fantin - San Marco 1965
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La Fenice Opera House was founded in 1792. In the nineteenth century, the theatre staged the world premieres of numerous operas, including Rossini’s Tancredi, Sigismondo and Semiramide, Bellini’s I Capuleti e i Montecchi (The Capulets and the Montagues) and Beatrice di Tenda, Donizetti’s Belisario (Belisarius), Pia de’ Tolomei, and Maria de Rudenz, and Verdi’s ErnaniAttila, RigolettoLa traviata and Simon Boccanegra.
 
In the last century, the Fenice has also placed a special emphasis on contemporary productions, welcoming the world premieres of Stravinski’s The Rake’s Progress, Britten’s The Turn of the Screw, Prokofiev’s L’angelo di fuoco (The Fiery Angel), Nono’s Intolleranza (Intolerance) and Maderna’s Hyperion. Recent premieres have included Kagel’s Entführung im Konzertsaal (Kidnapping in the Concert Hall), Guarnieri’s Medea, Mosca’s Signor Goldoni and Ambrosini’s Il killer di parole (The Killer of Words). 

With a seating capacity for over one thousand people, the Fenice boasts excellent acoustics (which were improved when the theatre was rebuilt after the devastating fire of 1996), a 98-member orchestra and 66-person opera chorus, a dedicated local audience and a large international following. The theatre is a leading creative venue, staging more than one hundred opera performances per year, a major symphonic season conducted by prominent conductors from across the globe (including frequent collaborations with Myung-Whun Chung, Riccardo Chailly, Jeffrey Tate, Vladimir Temirkanov and Dmitrij Kitajenko), the full cycles of symphonies by Beethoven, Schumann, Brahms and Mahler, a contemporary repertoire focused especially on Venetian artists such as Nono and Maderna, ballets, and chamber music concerts. The theatre is owned by the Municipality of Venice and managed by the Fondazione Teatro La Fenice, a private body whose members include the State of Italy, the Veneto region, the Municipality of Venice and numerous public and private institutions. The foundation also runs a second theatre, the Teatro Malibran (formerly known as the Teatro di San Giovanni Grisostomo), which dates back to 1678. The leadership of the Fondazione includes General Manager Cristiano Chiarot, Artistic Director Fortunato Ortombina, Principal Conductor Diego Matheuz and Chorus Master Claudio Marino Moretti.

In keeping with the theatre’s storied history, the Fondazione Teatro La Fenice is proud to stage the most important works of the Italian and international operatic repertoire, including pieces by French, Slavic, British and German composers. (Venice has enjoyed a long-standing, deep-rooted relationship with both Britten and Wagner.) The Foundation also hosts cutting-edge experimental directors while continuing to offer first-rate musical experiences. Furthermore, it conducts ongoing research into contemporary music, commissioning new works and staging Italian and Venetian premieres, and, in collaboration with Italian and international experts, is especially interested in producing Baroque works, particularly those from the Venetian repertoire.
 
In recent seasons, the Foundation has also endeavored to meet another of the goals set out in its statutes by developing new artistic frameworks and promoting emerging young artists. To this end, the Fenice has hired emerging young professionals (including conductors, directors, set designers and singers) to stage avant-garde productions, commissioned young composers to write symphonies and chamber pieces, and named the twenty-seven year old Diego Matheuz its Principal Conductor. Furthermore, the Fenice collaborates with leading Venetian educational institutions (including the Conservatory, University and Academy of Fine Arts) and involves students in designing, producing and staging performances, particularly as part of the recently founded Atelier della Fenice at Teatro Malibran.

 
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