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migran-agadzhanyan

Bizet Carmen

From 13 June TO 25 June 2020
Teatro dell'Opera - Roma
Program

Bizet : Carmen 170 mn

Cast
  • Conductor
    Bertrand de Billy
  • Director
    Emilio Sagi
  • Performers
    Carmen: Veronica Simeoni
    Carmen: Irene Roberts
    Carmen: Ksenia Dudnikova
    Don José: Pavel Cernoch
    Don José: Migran Agadzhanyan
    Escamillo: Vitaliy Bilyy
    Escamillo: Andrii Granchuk
    Micaela: Maria Grazia Schiavo
  • Venue Info
  • Seating Plan
  • Synopsis

Teatro dell'Opera - Roma Location Piazza Beniamino Gigli, 7 - 00187 Roma Italie

  • Venue's Capacity: 1400

The Venue's History in few words …

Even though there is proof that an opéra performance took place in Rome as early as 1606, (Agazzari's EUMELIO), the Pope's ban on théâtre and opéra performances was for many years an obstacle in the local development of opéra. In spite of the fact that a public opéra théâtre was inaugurated in 1697, no major composer was linked with the papal city until the opening of the présent opéra house in 1880. Opéra in Rome was far from inexistent during the nineteenth century: Rossini came to première his BARBER OF SEVILLE at the Teatro Argentina in 1816, and Verdi four of his works, including II TROVATORE (1853) and UN BALLO IN MASCHERA (1859) at the Teatro Apollo.

But in 1877, the city that had in the meantime become the capital of Italy was still without a modem opéra house. Domenico Costanzi, who had made a fortune in the hôtel business, had the good idea of bequeathing his name to the Eternal City by funding the construction of an opéra house, which was opened three years later. Roman operatic life was thus revived, and, from 1880 to 1926, the Teatro Costanzi hosted no less than 46 world premières and 120 Roman premières. Thèse premières, ail signed by Italian composers, included triumphant performances of Mascagni's CAVALLERIA RUSTICANA and Puccini's TOSCA. Furthermore, it was here that the Roman public discovered PARSIFAL in 1884, while Toscanini made his Roman début in the house's pit, conducting... CARMEN. In 1926. the théâtre fell into the hands of the fascist state, which renovated and modernized the building. When the house reopened two years later, rebaptized "Teatro Reale dell'Opera", the tradition of "national"premières was of course pursued, and one could hear composers such as Respighi and Malipiero, as weil as Stravinsky, Richard Strauss, and even Berg's WOZZECK in 1942. In 1937, the now famous open-air summer concerts were inaugurated in the Caracalla thermal baths.

In 1946, the institution adopted the name of Teatro dell'Opera and interna-tionalized its répertoire, while remaining faithful to contemporary music, as works by composers such as Britten, Honegger, Hindemith, Janâcek, and Henze were performed. It was also on this stage that Renata Tebaldi was applauded in 1948, and Maria Callas (in the rôle of Kundry in PARSIFAL!) in 1949. In spite offinancial difficulties, the house's artistic directors have, during these last few décades, deftly managed to keep alive the creativity and the luster of the Roman stage.

Teatro dell'Opera

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

Carmen

Carmen is among the renowned operas in the world, composed by Georges Bizet. It is one of the most attention-grabbing operas, composed of eminent melodies. The play was written by Henri Meilhac and Ludovic Halevy, and based on a short story by Prosper Merimee.
Carmen's intoxicating melodies together with the atmosphere represent the misery and emotions of these characters.

It is a fascinating opera full of affection and jealousy, and with an awesome performance which makes this Carmen most enjoyable and dramatic for any first time operagoer. Stunning, this opera is performed in almost all opera theaters in the entire world.

HISTORY
Carmen was first staged on 3rd March 1875 in Paris Opéra Comique.

The opera has then been recorded in various versions, since 1908 and has been the narrative of numerous screens and theater adaptations.

Act I
Spain. In Seville by a cigarette factory, soldiers comment on the townspeople. Among them is Micaëla, a peasant girl, who asks for a corporal named Don José. Moralès, another corporal, tells her he will return with the changing of the guard. The relief guard, headed by Lieutenant Zuniga, soon arrives, and José learns from Moralès that Micaëla has been looking for him. When the factory bell rings, the men of Seville gather to watch the female workers—especially their favorite, the gypsy Carmen. She tells her admirers that love is free and obeys no rules. Only one man pays no attention to her: Don José. Carmen throws a flower at him, and the girls go back to work. José picks up the flower and hides it when Micaëla returns. She brings a letter from José’s mother, who lives in a village in the countryside. As he begins to read the letter, Micaëla leaves. José is about to throw away the flower when a fight erupts inside the factory between Carmen and another girl. Zuniga sends José to retrieve the gypsy. Carmen refuses to answer Zuniga’s questions, and José is ordered to take her to prison. Left alone with him, she entices José with suggestions of a rendezvous at Lillas Pastia’s tavern. Mesmerized, he agrees to let her get away. As they leave for prison, Carmen escapes. Don José is arrested.

Act II

Carmen and her friends Frasquita and Mercédès entertain the guests at the tavern. Zuniga tells Carmen that José has just been released. The bullfighter Escamillo enters, boasting about the pleasures of his profession, and flirts with Carmen, who tells him that she is involved with someone else. After the tavern guests have left with Escamillo, the smugglers Dancaïre and Remendado explain their latest scheme to the women. Frasquita and Mercédès are willing to help, but Carmen refuses because she is in love. The smugglers withdraw as José approaches. Carmen arouses his jealousy by telling him how she danced for Zuniga. She dances for him now, but when a bugle call is heard he says he must return to the barracks. Carmen mocks him. To prove his love, José shows her the flower she threw at him and confesses how its scent made him not lose hope during the weeks in prison. She is unimpressed: if he really loved her, he would desert the army and join her in a life of freedom in the mountains. José refuses, and Carmen tells him to leave. Zuniga bursts in, and in a jealous rage José fights him. The smugglers return and disarm Zuniga. José now has no choice but to join them.

Act III

Carmen and José quarrel in the smugglers’ mountain hideaway. She admits that her love is fading and advises him to return to live with his mother. When Frasquita and Mercédès turn the cards to tell their fortunes, they foresee love and riches for themselves, but Carmen’s cards spell death—for her and for José. Micaëla appears, frightened by the mountains and afraid to meet the woman who has turned José into a criminal. She hides when a shot rings out. José has fired at an intruder, who turns out to be Escamillo. He tells José that he has come to find Carmen, and the two men fight. The smugglers separate them, and Escamillo invites everyone, Carmen in particular, to his next bullfight. When he has left, Micaëla emerges and begs José to return home. He agrees when he learns that his mother is dying, but before he leaves he warns Carmen that they will meet again.

Act IV

Back in Seville, the crowd cheers the bullfighters on their way to the arena. Carmen arrives on Escamillo’s arm, and Frasquita and Mercédès warn her that José is nearby. Unafraid, she waits outside the entrance as the crowds enter the arena. José appears and begs Carmen to forget the past and start a new life with him. She calmly tells him that their affair is over: she was born free and free she will die. The crowd is heard cheering Escamillo. José keeps trying to win Carmen back. She takes off his ring and throws it at his feet before heading for the arena. José stabs her to death.

MAIN ROLES
Carmen, a gypsy girl, mezzo soprano

Don Jose, corporal of dragoons, tenor

Escamillo, toreador, bass-baritone

Micaela, A village maiden, soprano

Zuniga, lieutenant of dragoons, bass

Morales, corporal of dragoons, baritone

Teatro dell'Opera © Silvia Lelli

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