Il Viaggio a Reims →
Gioacchino Rossini
Coproduction:
Stadttheater Bern / Opera de Oviedo
Sets and costumes: Julia Hansen
Light design: Karl Morawec
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Revival:
→ Tel Aviv, November 2007
→ De Vlaamse Opera (Antwerp/Ghent), December 2011-January 2012
Stadttheater Bern
Premiere: September 25th, 2005
Conductor: Pietro Rizzo
Bern Symphony Orchestra
Chorus of the Stadttheater Bern:
Lech-Rudolf Gorywoda
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Corinna: Iride Martinez
Contessa di Folleville: Corinna Mologni
Marchesa Melibea: Zoryana Kushpler
Madama Cortese: Marussa Xyni
Cavalier Belfiore: Robert McPherson
Conte di Libenskof: David Alegret
Lord Sidney: Josef Wagner
Don Profondo: Nicola Alaimo
Barone di Trombonok: Orazio Mori
Don Alvaro: Robin Adams
Don Prudenzio: Runi Brattaberg
Don Luigino: James Elliott
Maddalena: Vilislava Gospodinova
Delia: Manami Takasaka
Modestina: Ulrike Schneider
Antonio: Andrzej Poraszka
Zefirino: Assen Toscheff
Photos: © Edouard Rieben
Opera de Oviedo
Premiere: September 10th, 2006
Conductor: Alvaro Albiach
Oviedo Symphony Orchestra
Chorus of the Opera de Oviedo: Francisco Javier Aizpiri
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Corinna: Ana Nebot
Contessa di Folleville: Ruth Rosique
Marchesa Melibea: Marina Rodríguez-Cusí
Madama Cortese: Eliana Bayón
Cavalier Belfiore: José Manuel Zapata
Conte di Libenskof: David Alegret
Lord Sidney: David Menéndez
Don Profondo: Joan Martín-Royo
Barone di Trombonok: Enric Martínez-Castignani
Don Alvaro: Isaac Galán
Don Prudenzio: Miguel Angel Zapater
Don Luigino: David Castañón
Maddalena: Marisa Roca
Delia: Claudia Schneider
Modestina: Gleisy Lovillo
Antonio: Marc Canturri
Zefirino: Jorge Rodríguez
Photos: © Carlos Rodríguez
Tel Aviv, November 2007
Conductor: Pietro Rizzo / Tamir Chasson
The Israeli Opera Chorus
The Opera Orchestra
The Israel Symphony Orchestra: Rishon LeZion
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Corinna: Stephania Bonfadelli / Ana Nebot
Contessa di Folleville: Chen Reiss / Corinna Mologni
Marchesa Melibea: Sarah Castle / Ann McMahon Quintero
Madama Cortese: Mirela Gradinaru / Marussa Xyni
Cavalier Belfiore: Robert McPherson / Andreas Scheidegger
Conte di Libenskof: Javier Abreu / John Zukerman
Lord Sidney: Josef Wagner
Don Profondo: George Mosley / Jin-Seok Lee
Barone di Trombonok: Noah Briger
Don Alvaro: Paul Armin Edelmann
Don Prudenzio: Miguel Angel Zapater
Don Luigino: Yosef Aridan
Maddalena: Karin Caspi
Delia: Noa Danon
Modestina: Shira Raz
Antonio: David Adam Moore
Zefirino: Felix Livshitz
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De Vlaamse Opera (Antwerp/Ghent), December 2011-January 2012
Conductor: Alberto Zedda / Ryuichiro Sonoda
Orchestra of the Vlaamse Opera
Chorus of the Vlaamse Opera: Yannis Pouspourikas
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Corinna: Elena Gorshunova
Contessa di Folleville: Elena Tsallagova
Marchesa Melibea: Anna Gorvachova
Madama Cortese: Serena Farnocchia
Cavalier Belfiore: Robert McPherson / José Manuel Zapata
Conte di Libenskof: Alexey Kudrya
Lord Sidney: Josef Wagner
Don Profondo: Carlo Lepore
Barone di Trombonok: Cozmin Sime
Don Alvaro: Andrè Schuen
Don Prudenzio: Igor Bakan
Don Luigino: Gijs Van der Linden
Maddalena: Anneke Luyten
Delia: Chia-Fen Wu
Modestina: Els Van Daele
Antonio: Simon Schmidt
Zefirino: Maarten Heirman
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Il Viaggio a Reims
According to the libretto, Viaggio is supposed to take place in a hotel. But the original setting does not really reflect what is at the core of the piece and makes it so special: waiting. Waiting for the horses which will make it possible to leave. Other than the mere urge to leave, no available storyline in the 19th century sense of the term.
This minimalist plot is what makes Viaggio, in spite of what one often hears, so appealing for a director. In order to make this ground situation as clear a possible, we decided to change the setting. Who, nowadays, would be anxious to leave a luxury spa hotel? No one.
Some of us would even be glad to have an excuse to stay a little longer... A stressful situation which everyone relates to, on the other hand, is a delayed flight. Boarding has taken place, all the passengers are seated and have fastened their seatbelts — and yet, for some obscure reason, the plane does not move. Hours go by.
What happens? How do people react? How does tension mount? How do arrogant first-class passengers (the cr?me de la cr?me of European jetsetters) claim their rights? When do the economy-class passengers start rebelling? Where and how do two lovers find ten minutes of privacy? And does the plane take off in the end?
