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Un ballo in maschera - Verdi

Joan Sutherland Theatre, Sydney Opera House - Sydney

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Un ballo in maschera - Verdi

SYDNEY OPERA HOUSE

Verdi Un Ballo in Maschera

The 07 August 2027
Opening date: 29 September 2026
Joan Sutherland Theatre, Sydney Opera House - Sydney
From 125 €
Prices & Dates
Program

Verdi : Un Ballo in Maschera 135 mn

Sung in : Italian
Cast
  • Conductor
    Alevtina Ioffe
  • Director
    Daniele Menghini
  • Performers
    Riccardo (Gustave III): Diego Torre
    Amelia: Jessica Harper
    Renato (Ankarstroem): Daniel Luis de Vicente
    Ulrica (Arvidson): Silvia Beltrami
    Oscar: Anna Voshege
  • Venue Info
  • Seating Plan
  • Synopsis

Joan Sutherland Theatre, Sydney Opera House - Sydney LocationBennelong Point - NSW 2000 Sydney Australie

The Sydney Opera House Restaurant, the Bennelong is very nice, to discover !

In 1884, a young Australian soprano, Helen Mitchell, gave her first concert in Melbourne. Later acclaimed as one of the most breathtaking coloraturas, she took the stage name Nellie Melba, in souvenir of the city of her début. After growing success greeted her from Paris to New York, from Saint Petersburg to London and Milano, she decided to organize opera tours in her native country. These tours no doubt marked the beginnings of opera in Australia. But it was not before 1973 that the country built an opera house worthy of the birthplace of two of the century's most important coloraturas: Nellie Melba, of course, and Joan Sutherland.

Nevertheless, as of the fifties, a small group of local résidents, backed by the conductor Eugène Goossens, demanded the construction of a modem concert hall in Sydney. The site was rapidly chosen: Bennelong Point, named after the birthplace ofthe first Aborigine who spoke English. A lottery was organized to finance the project and in 1956, an itinérant company, The Australian Opera, was founded. In 1957, the Danish architect Jern Utzon was chosen to design an arts complex that everyone already called the «Opera House.» Everything seemed to be moving along quite quickly: the first stone was laid in 1959, but Utzon, who had designed the famous shells that jut out over the bay of Sydney, had to modify his plans which were impracticable. After much controversy, he resigned in 1966 and an Australian team took over the project in 1973.

After this somewhat difficult birth, the Sydney Opera House rapidly gained an international réputation, and its easily recognizable silhouette has since become an emblem of the city, if not of the country. The complex houses more than 1,000 différent spaces for the performing arts, including a 1,547-seat opera theatre (with its walls painted in black, to bet ter attract the audience's eyes towards the stage). It's in this hall that Joan Sutherland, spouse of the Australian Richard Bonynge (the house's principal conductor from 1976 to 1986), was triumphantly applauded. This hall is also the home of The Australian Opéra, since the company has now mostly limited its tours to Melbourne. A véritable nursery of young talent, which one can applaud, together with a large number of guest stars, during the company's numerous performances.

Joan Sutherland Theatre, Sydney Opera House

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Un Ballo in Maschera

If you like your opera with a touch of politics then you will enjoy Un ballo in maschera. This opera was composed by Giuseppe Verdi with a libretto by Antonio Somma and was premiered in Rome in 1859. The opera is based on the assassination of King Gustav III of Sweden, although the final version had to undergo several changes because of censorship and the tense political situation in France.

HISTORY
Le bal masqué revolves around political conspiracy and unrequited love; both strands becoming entwined.

Act 1
The long first act of Le bal masqué opens at the court of King Gustavo of Sweden; he is reviewing a list of guests for his masked ball. Gustavo is in love with Amelia, the wife of Count Anckarstrom and is happy to see that she is a guest. When the Count arrives he tries to warn the King of trouble in his kingdom but Gustavo will not listen. A magistrate asks King Gustavo to banish Madame Arvidson, a fortune teller accused of witchcraft but she is defended by Oscar, the King's page. To test the accusation the King calls upon his courtiers to disguise themselves ready to meet at her lodgings. Amelia arrives to see Madame Arvidson and the disguised King hides. From his hiding place he hears Amelia profess his love for him and the problems this is causing her. The fortune teller advises her to collect a magical herb. King Gustavo and his courtiers present themselves to the fortune teller and their fortunes are read. Madame Arvidson prophesies that the King will be killed by the next man to shake his hand, who turns out to be Count Anckarstrom.

Act 2
It is now the middle of the night and Amelia bravely visits the forest to pick her herbs. King Gustavo surprises her and they declare their love for each other; but suddenly the Count arrives and Amelia veils her face to hide from her husband. The Count tells the King that conspirators are looking for him and his life is in danger. As the King flees he asks Count Anckarstrom to escort the veiled lady back to the town. The Count has to fight the conspirators and in the struggle Amelia´s face is revealed. Count Anckarstrom immediately thinks the worst. He confers with the leaders of the conspiracy and they agree to meet the following day.

Act 3
Count Anckarstrom threatens to kill Amelia. She pleads her innocence and begs to see her son one more time. The Count relents and decides Gustavo must die instead. When the conspirators arrive they ask Amelia to draw lots to see who will kill the King and the Count is chosen. They decide that the masked ball, Le bal masqué, will be the perfect place for an assasination. At the ball the King is seen resolving to be strong and deciding to send Amelia and the Count away from court but the Count finds and stabs King Gustavo. As he lies dying he declares that Amelia did not break her marriage vows although he loves her. He bids farewell to his friends and his country and dies.

MAIN ROLES

  • Riccardo, Earl of Warwick, Governor of Boston, tenor
  • Renato, Riccardo's secretary and friend, husband of Amélia, baritone
  • Amelia, Renato's wife, soprano
  • Ulrica,fortune-teller, contralto
  • Samue,conjurer, bass
  • Tom,conjurer, bass
SYDNEY OPERA HOUSE