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Il tabarro, Suor Angelica, Gianni Schicchi (Mariinsky Theatre, opera) - 01 January 1970

Il tabarro, Suor Angelica, Gianni Schicchi (Mariinsky Theatre, opera)

Genre: Opera Language: Italian Age restriction: 12+ Length: 50 minutes Intermissions: 0 Opening night: 17 April 2003

 

Credits


Musical Director: Gianandrea Noseda
Stage Director: Walter Le Moli
Set Designer: Tiziano Santi
Costume Designer: Giovanna Avanzi
Lighting Designer: Claudio Coloretti
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Natalia Mordashova
Children’s Chorus Master: Dmitry Ralko

Artists


Conductor: Gavriel Heine

Giorgetta: Tatiana Pavlovskaya
Luigi: Sergei Drobyshevsky
Michele: Andrei Spekhov
La Frugola: Olga Bobrovskaya

Suor Angelica: Zhanna Dombrovskaya
The Princess: Larisa Diadkova

Gianni Schicchi: Alexander Gergalov
Lauretta: Olga Trifonova
Rinuccio: Dmitry Voropaev

 

The idea of performing three one-act operas in one evening, sharply contrasting in theme and mood, came to Giacomo Puccini as far back as 1900, after Tosca. At the time, his thoughts were consumed by one of the greatest books in the history of world culture – Dante’sThe Divine Comedy. From people close to Puccini we know that when on trains he was never without his pocket-sized edition, and when talking he would often quote “eternal words”. “Hell”, “Purgatory” and “Heaven” seemed to him ideal material for a triptych. There were diverse reasons why he had to abandon the plan – as a result, essentially it is only Gianni Schicchi that is connected with Dante’s text (Hell, the thirtieth song). The remaining parts of the triptych – Il tabarro and Suor Angelica are based on literary works by other writers. 

Formally speaking, Il tabarro, Suor Angelica and Gianni Schicchi have nothing in common with one another, they are not united either by a common story or any other obvious ties. Perhaps that is why the composer never ceased to have doubts as to the justification for I  trittico. At the same time, if we immerse ourselves in the unique atmosphere of each of the parts, then a certain very broad meaning, unseen at a fleeting glance, nevertheless comes into view. Its roots bring it to the very forefront, while The Divine Comedy formed the basis of Puccini’s thoughts. 
It may be supposed that somewhere on a subconscious level in this work by composer the idea that runs through Dante’s book is reflected. The idea of moving from darkness through purification to light. Then Il tabarro with its predominant cruelty and hopelessness may be likened to Hell. Suor Angelica, like a tale of mortal sin and of salvation through Divine forgiveness, brings us to the idea of purification, and Gianni Schicchi is a hymn to a joyful disposition, unusual for Puccini, giving rise to a dream of Heaven on Earth. 

 

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