At first reticent, Verdi finally accepted the offer after becoming better acquainted with the story of the enslaved Ethiopian princess Aida.Aida's author was the eminent French Egyptologist Auguste Mariette who had deciphered the legend from ancient papyrus. The story is based on the lengthly struggle between Egypt and Ethiopia (Nubia). Sets and costumes for the original production were based on Mariette's own sketches. The story was translated into French by librettist Camille du Locle (1832-1903). The Italian libretto is by Antonio Ghislanzoni (1824-1893). The Cairo premiere was held on December 24, 1871, but its first Italian performance took place the following year, February 8, in Milan, with Verdi himself conducting. Both premieres were triumphant successes.
- Event organizer:Latvian National Opera
- Admission fee:Paid
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Žoržs Momboje (Georges Momboye) dzimis Kotdivuārā, dejo kopš 13 gadu vecuma, profesionālo meistarību un zināšanas kaldinājis un attīstījis pie izciliem dejas meistariem ASV un Francijā. Kopš 1992.gada viņš dzīvo un strādā Francijā.
Žorža Mombojes deju grupa dibināta 1992.gadā, un grupā dejo ap 50 dejotāju. Attīstot Āfrikas dejas stilu, Žoržs Momboje izmanto mūsdienu kustību un žestus: gan afrikāņu tradicionālās, gan klasiskās un laikmetīgās dejas un hip hop dejas elementus, apvienojot un sapludinot vienā veselumā labāko no minētajiem deju žanriem. Viņa horeogrāfiju raksturo atvērts un cieņpilns skatījums uz kultūras atšķirībām un īpatnībām kā spēka un unikalitātes avotu. Liela nozīme horeogrāfa darbos ir arī mūzikai un precīzai telpas izjūtai. Mombojes izrādes uzrunā cilvēkus ikvienam saprotamā dejas valodā - tā ir oda ķermeņu radošajai enerģijai un dejas universālajam ritmam.
Žoržs Momboje sadarbojas ar Djibala Groove Percussions mūziķu un dziedātāju grupu. Mūziku un arī gaismu viņš izmanto meistarīgi, tās ir ļoti svarīgas viņa iestudējumu sastāvdaļas. Šo unikālo dejas kompāniju raksturo augsta līmeņa profesionālisms, artistiskums, spoža tehnika, bagātīga fantāzija, enerģija, skaistums, un tās deja kalpo emociju paušanai. Ar saviem iestudējumiem Žorža Mombojes deju grupa ir piedalījusies 13 prestižos starptautiskos festivālos Francijā, Venecuēlā, Lielbritānijā, Austrijā , Spānijā, Itālijā.
Izrāde "BOYAKODAH", kas vienā no Kotdivuārā runātajām valodām nozīmē "LAIME", kas uz skatuves apvieno perkusionistu un dejotāju vienotu priekšnesumu, ir patiesa oda dzīvei. Žoržs Momboje šajā iestudējumā apvienojis izpildītāju talantu daudzpusību: miezeri un piestu, papildu seksuālus simbolus, radīšanas spēku un harmoniju. Šī izrāde meklē balansu starp ķermeni un dvēseli, starp ritmu un klusumu, lai pamodinātu cilvēkā maksimālu un absolūtu tiekšanos pēc laimes un prieka. Izrāde ilgst 1 h 10 min.
Lithuanian soprano Asmik Grigorian will take on the extraordinary challenge to portray the evening's three female leads: Giorgetta in Il Tabarro, the title-role in Suor Angelica, and Lauretta in Gianni Schicchi. Brazilian tenor and OPERALIA winner Thiago Arancam will sing Luigi in Il Tabarro, Swedish baritone Kosma Ranuer will sing Michele in Il Tabarro and the title-role in Gianni Schicchi.
Under the baton of Chief Conductor Modestas Pitrenas, the cast also includes mezzo-sopranos Ilona Bagele and Andžella Goba as Frugola in Il Tabarro, as La Zia Principessa in Suor Angelica, and as Zita in Gianni Schicchi, sopranos Inga Šlubovska and Gunta Davidčuka as Sister Genovieffa in Suor Angelica, and tenor Raimonds Bramanis as Rinuccio in Gianni Schicchi.
Il Trittico will be directed by Viesturs Kairišs, the sets and costumes will be designed by Ieva Jurjane. Kairišs won international critical acclaim for his productions of Die Walküre (2007) and Siegfried (2008) at the Latvian National Opera.
There will be a second performance during the Festival on June 13. In the 2010/11 season, Il Trittico will receive seven performances at the LNO.
Lithuanian soprano Asmik Grigorian is a graduate from the National School of Arts in Vilnius and later continued her studies in Nice, France. She gave her debut at the Latvian National Opera in June 2006 as Susanna in a new production of Mozart's Le nozze di Figaro. Since then she has returned to the stage of the LNO in a wide spectrum of roles including the Contessa Almaviva in Figaro, Violetta Valéry in La Traviata, Micaela in Carmen, Musetta in La Boheme, the title-roles of Handels Alcina and Dvorak's Rusalka, Lisa in The Queen of Spades, Donna Elvira in Don Giovanni, and Charlotte in Werther. Next season, she will give her debuts at Komische Oper Berlin in the title-role of Rusalka, and at the Cologne Opera as Marie in Alban Berg's Wozzeck.
Brazilian tenor Thiago Arancam studied at the Municipal School of Music of Sao Paulo and at the University of Music Carlos Gomes where he graduated in 2003. In October 2004, he was the first Brazilian ever to be invited to attend the famous Singers' Academy at Milan's La Scala. He gave his debut at La Scala with a concert in 2005. In 2008, he participated in Placido Domingo's OPERALIA competition where he won three prizes: the First Zarzuela Prize, the First Audience Prize, and the Second Opera Prize. Following the competition, he debuted as Don Josè in Carmen at the Washington National Opera. In 2009, he gave his debut as Cavaradossi in Tosca in Frankfurt, Maurizio in Cilea's Adriana Lecouvreur in Turin, and Pinkerton in Madama Butterfly in Valencia under the baton of Lorin Maazel. Next season, he will sing the role of Christian in Franco Alfano's Cyrano de Bergerac at the San Francisco Opera, Pinkerton at the Washington Opera, and Cavaradossi at the Deutsche Oper Berlin. Il Trittico marks his debut at the Latvian National Opera.
Swedish baritone Kosma Ranuer was educated at the Operastudio 67 and the University College of Opera in Stockholm. As a student he sang the role of Count Ceprano in Rigoletto at the Royal Opera in Stockholm. He made his professional debut as Monterone in Rigoletto at the Malmö Opera in 2004. His repertoire includes Nick Shadow in Stravinsky's The Rake's Progress, Renato in Verdi's Un Ballo in Maschera, the title-role in Rigoletto, Masetto in Don Giovanni, the title-role in Arrigo Boito's Mefistofele, Barnaba in Ponchielli's La Gioconda and Don Pizzarro in Beethoven's Fidelio. Ealier this season, he sang the role of Paulo in Verdi's Simon Boccanegra at the Frankfurt Opera. Il Trittico marks Kosma Ranuer's debut at the Latvian National Opera.
About the stories
Il Tabarro takes place on a barge on the river Seine. Michele, the captain, recalls happier days when he would shelter his much younger wife Giorgetta and their son under his cloak. But when the son died, the relationship turned sour. Michele finds out that Giorgetta is having an affair with the stevedore Luigi. Michele confronts Luigi, kills him - and presents the corpse, wrapped in the cloak, to his wife.
Suor Angelica is set in a convent. Seven years ago, Angelica was forced to enter this convent as punishment for having defamed her family name by bearing a child out of wedlock. She hasn't had any contact with the outside world ever since she joined the sisterhood. When her aunt, the Princess, visits her to demand Angelica renounce her share of the family estate, Angelica is desperate for news of her son. The Princess coldly informs her that the boy died two years ago. Angelica commits suicide. Dying, she has a vision of being reunited with her child.
Gianni Schicchi unfolds at the deathbed of a wealthy patriarch, Buoso Donati. Each of the greedy family members hopes to inherit the biggest share of the estate. When they find the testament, they realize Donati has left his entire fortune to a monastery. They are desperate for a solution how to get hold of the estate after all. Rinuccio suggests they consult the wily Gianni Schicchi, the family's black sheep. At first, the family rejects the idea, but Rinuccio, who is in love with Schicchi's daughter Lauretta, convinces them to summon Schicchi who arrives together with Lauretta. Schicchi suggests he himself will impersonate the dying Donati and make a new will that would bequeath all of Donati's properties to the family members. He warns everybody that forgery of a testament is a serious crime which will be severely punished by the law, so nobody must ever find out about their scheme. The family hides the corpse of Donati, while Schicchi takes the place of the dying man. When the notary arrives, Schicchi dictates a new will and, to the outrage of the family, makes sure that he himself gets the most valuable properties.
The revival of the production - where our troupe's best soloists will perform the story of the young heartbreaker Franz and his beloved, Svanilde - will be comical, colorful, and full of life. The characters enter a whirlwind of misunderstandings when Svanilde's beauty is overshadowed by the magic of the mysterious Doctor Coppélius's daughter, Coppélia.
The tragedy unfolds when Jose's obsessive, destructive love for Carmen is confronted with her longing for unconditional freedom - a freedom for which she is willing to pay any price, even her own life. With this production, which is set in present day Cuba, the LNO takes a fresh look at the story.
Pasaku varoņi šoreiz ir gatavi ne tikai dziedāt un izdzīvot operas notikumus, bet arī stāstīt, kas ir opera, orķestris, rekvizīti, dekorācijas, kādas balsis ir sastopamas operā, no kā sastāv opera u.c.
Pasākuma laikā varēs iegādāties arī īpašu ilustrētu Operas vārdnīcu, kurā atrodama informācija par operas terminiem un uzveduma sastāvdaļām.
Boris Eifman: "Anna became dependent on corporal love. This dependence gradually becomes a disease, which, as a logical outcome, leads to suicide. I see Anna as a wolf-woman, a combination of two people: the socialite known and loved by her husband and son, and a woman overcome with passion. What is more important: surrendering oneself to an illusory domestic bliss or to the passion of true feelings? Do we have the right to destroy our family and abandon our children, all because of the desires of the body?"
Nobody can know all the things that the Tango embodies better than a true Argentinian. However, Mauricio Wainrot finds the miracle of dance not only in Argentinian culture. For years, he has been researching ethnic music from diff erent cultures. The choreographer fell in love with this kind of music and developed the idea for this ballet in which he pays tribute to these cultures and invites us to join him on his journey.
Suddenly, the enigmatic Dulcamara appears, seemingly from out of nowhere, with a mysterious potion. Of course, Nemorino has no idea that his elixir is just cheap, strong wine, yet he feels its eff ects immediately! Dulcamara's love potion unveils the protagonists' true faces and uncovers their hidden feelings.
Maria, the daughter of a Polish magnate, inflames the heart of the Crimean Khan Girei, who kidnaps Maria and takes her back to his harem. Here, Maria is thrown into the midst of a psychological war; in a fit of rage and jealousy, Girei’s wife, Zarem, attacks and kills the Polish girl. Khan Girei tries to soothe his pain by gazing into the Fountain of Tears, whose bubbling water brings him back to his past, and his feelings once again come to life…