Main

LANGUAGE

Currency

Info

Phone

TICKET SEARCH
DATE
from: to:
GENRE
PRICE
up to
EXTENDED SEARCH
DATE
from:to:
GENRE
PRICE
up to
LANGUAGE
AGE
age restriction
QUICK SEARCH

Please enter theatre's name, actor's name or any other keyword

SEARCH

L'oca del Cairo, ossia Lo sposo deluso (Saint-Petersburg Opera Theatre, opera)

L'oca del Cairo, ossia Lo sposo deluso (Saint-Petersburg Opera Theatre, opera)

Genre: Opera Age restriction: 16+ Length: 2 hour 10 minutes

 

Credits


Music: Wolfgang Amadeus Mozart

THE FOURTH INTERNATIONAL CHAMBER OPERA FESTIVAL Production by Hungarian State Opera 
In the four years after the composition of Die Entführung aus dem Serail in 1782, Mozart was flirting with the comic opera genre. "I have looked through a hundred libretti, and more, but have not been able to find even one with which I am satisfied" – he wrote to his father in Salzburg. "The chief thing is the comic element – I know the taste of the Viennese" – wrote Mozart to one of his potential librettists, while still looking for a new libretto for his latest opera. The fruit of this labour was L’oca del Cairo, The Goose of Cairo, an abortive project if there ever was one. It is perhaps a measure of Mozart’s desperation that he should not only be prepared to consider collaborating on a comic opera with Abbate Varesco, the librettist of the opera Idomeno, who, as he admitted, had "not the slightest knowledge or experience of the theatre" but should actually work on so barren a tale off and on for six months before finally acknowledging that it was hopeless. The story of an old Marquis who betroths her daughter to a man she doesn’t like, and keeps her shut up in a tower from which the daughter’s true love can rescue her with the help of a giant mechanical goose, certainly won’t join the pantheon of drama. Another opera fragment, Lo sposo deluso, The Deluded Bridegroom, probably dates from about the same time. It may be the libretto Mozart mentioned in a letter: "An Italian poet" brought him a text, which "I shall perhaps adopt if he agrees to adjust and tailor it to my liking" – he wrote. The poet is often assumed to be Da Ponte himself. The true importance of L'oca del Cairo – which is composed of only a few arias, two duets, a quartet, and a finale – for Mozart’s dramaturgy is that it was his first true, eventful buffo finale: through-composed and with two opposing groups, in which the roles are delineated further through distinct musical characterisation. This was the prelude to Mozart’s great Da Ponte-operas: Le nozze di Figaro, Don Giovanni, and Cosi fan tutte. 
General cast Conductor: Pál Németh Don Pippo: István Kovács Celidora: Anikó Bakonyi Calandrino: Gergely Biri Lionetto: János Szerekován Lavina: Zita Váradi Biondello: Péter Balczó Auretta: Bori Keszei Chichibio: Máté Fülep 
Credits Music: Wolfgang Amadeus Mozart Librettist: Lorenzo Da Ponte / Giovanni Battista Varesco Concept by: Attila Toronykőy / Szilveszter Ókovács Music edited by: Pál Németh Italian libretto supplemented by: Éva Lax Director: Attila Toronykőy Set and costume designer: Katalin Juhász Dramaturg, Hungarian surtitles: Judit Kenesey Russian surtitles: Okszána dr. Taskovics 
Photo by Péter Rákossy 

 

Pictures

Saint-Petersburg Opera Theatre playbill


This show has no active performances now!

LEAVE A REQUEST

VIEW ACTUAL PLAYBILL
We recommend: RusTrains.com - Russian Train Tickets