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Teatro di San Carlo

Cimarosa Il Maestro di Cappella

From 05 June TO 07 June 2020
Teatro di San Carlo - Napoli
Program

Cimarosa : Il Maestro di Cappella

1 h
Cast
  • Conductor
    N.N.
  • Director
    Mariano Bauduin
  • Performers
    Marco Filippo Romano
    Antonella Morea
    Roberta Mameli
    Aramando Arangione
    Edo Puccini
Details on the Performance

We have no documents for Il Maestro di Cappella, if not following on the death of Cimarosa, even if there are numerous samples kept in the libraries all over the world that testify to its popularity. It is not certain whether it is an intermezzo, because the presence of a sole character would make it an unicum in the genre of theatrical performance. Of course, this work can be linked to a meta-theatrical current (theatre talking about theatre) rather popular in the 18th century (for example, La Dirindina by Domenico Scarlatti, La Canterina by Haydn, Der Schauspieler directed by Mozart) to which Cimarosa himself had contributed with L’Impresario in angustie. In this amusing parody the Master tries to direct an undisciplined orchestra: the strings fight with each other, the horns hit the wrong notes and the oboes are out of time. In the end the Master succeeds in his intentions, singing patiently the parts of every instrument. In the version conceived by the director Mariano Bauduin for the Teatro San Carlo, the intermezzo was ‘interpolated’ with a text taken from the entertaining comedy Il Critico, ovverosia le prove di una tragedia (The Critic) by Richard Brinsley Sheridan, an important English playwright of the second half of the 18th century and author of famous comedies for Covent Garden in London.

Source © Teatro San Carlo

  • Venue Info
  • Seating Plan
  • Synopsis

Teatro di San Carlo - Napoli Location Via San Carlo, 98F - 80132 Napoli Italie

  • Venue's Capacity: 1386

The Venue's History in few words …

The "San Carlo" is the world's oldest opera house still in activity. Right from the start, in 1737, people came from far and wide to admire the theatre's excellent 42-musician orchestra, and to applaud the castratos trained at the Naples Conservatory (like the famous Farinelli), as well as divas known by their nicknames, "la Parruchierrina," or "la Bastarella," for example. And the house in itself, with its sumptuous architecture and no less than six stories of boxes, was no minor attraction: Stendhal was enchanted by the hall's charm, and Paul Klee was fascinated by what he described as this "superb, heavy, and obscure theatre."

 

In 1816, fire burned down the theatre, and Ferdinand de Bourbon reconstructed an identical building with amazing speed, for Naples, robbed of its opera house, was plunged in mourning, and threatened to not support its sovereign. Let's not forget that at that time, the reign of Domenico Barbaja (nicknamed "The Prince of Impresarios" by Alexander Dumas) had already begun brilliantly. In 1815. this Milanese ex-cafe waiter, who is often credited with the invention of whipped-cream, had had the brilliant idea of hiring Gioacchino Rossini in person as the theatre's artistic director. This exceptional LUCIA DI LAMMERMOOR for the San Carlo), while launching, in 1826, a young composer called Vincenzo Bellini. The Neapolitan stage became the place where several singers' careers were made or broken; the famous French tenor Adolphe Nourrit, for example, who considered that the applause had not been sufficient, commited suicide after a performance at the San Carlo. The composer Saverio Mercadante then won the favours of the San Carlo's notorious audience, to such an extent that Verdi at first felt ill at ease in the theatre. Only to better triumph in 1872, when he organized an entire season, and had an orchestra pit added.

 

During the twentieth century, the stars of the Scala have sometimes overshadowed those of the San Carlo, an historic rivalry that has always existed, in a country where music lovers must choose sides. But the Neapolitan stage defends itself by ever enriching, even to this day, the world's largest repertoire of works ever premiered in an opera house, while legendary singers, such as Beniamino Gigli (who performed in the theatre from 1915 to 1953), have always remained exceptionally faithful to the San Carlo audience, which also happens to be one of the warmest anyone could imagine.

Teatro di San Carlo

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

Il Maestro di Cappella

Teatro di San Carlo

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