Gaetano Donizetti

Lucrezia Borgia

“Take the most horrific, most repulsive, most complete moral deformity, put it where it stands out best, in the heart of a woman […], then mix to all this moral difference a pure feeling, the purest that the woman can feel, the maternal feeling”. These are the words that Victor Hugo uses to describe the tragedy Lucrezia Borgia, which he wrote and from which Donizetti drew his work in a prologue and two acts, staged for the first time in 1833. Lucrezia, protagonist of this drama, seeks redemption in the purity of love for her son, but the events that she sets in motion will give her love the taste of poison, death.

7 | 8 | 10 | 11 | 12 | 13 May 2022

Teatro Comunale

TICKETS

Production of TCBO
with Auditorio de Tenerife, Ópera de Oviedo and Teatro de la Maestranza, Siviglia

CONDUCTOR

DIRECTOR

Silvia Paoli

Cast

LUCREZIA BORGIA
Olga Peretyatko 7 | 10 | 12 MAY
Marta Torbidoni 8 | 11 | 13 MAY

ALFONSO I D’ESTE
Mirco Palazzi 7 | 10 | 12 MAY
Davide Giangregorio
8 | 11 | 13 MAY

GENNARO
Stefan Pop 7 | 10 | 12 MAY
Francesco Castoro
8 | 11 | 13 MAY

MAFFIO ORSINI
Lamia Beuque 7 | 10 | 12 MAY
Nicole Brandolino
8 | 11 | 13 MAY

JEPPO LIVEROTTO
Cristiano Olivieri

DON APOSTOLO GAZELLA
Tommaso Caramia

ASCANIO PETRUCCI
Tong Liu (School of the Opera of TCBO)

OLOFERNO VITELLOZZO
Stefano Consolini

GUBETTA
Nicolò Donini

RUSTIGHELLO
Pietro Picone

ASTOLFO
Luca Gallo


SETS
Andrea Belli

COSTUMES
Valeria Donata Betella

LIGHTS
Alessandro Carletti

CHOREOGRAPHY
Sandhya Nagaraja

ASSISTANT TO SETS
Paolo Vettori

CHOIR MASTER
Gea Garatti Ansini

7 | 8 | 10 | 11 | 12 | 13 May 2022

Teatro Comunale

EVENT CONCLUDED

DURATION

Prologue: about 45 minutes
Interval: about 26 minuti
Act 1: about 40 minutes

Interval: about 20 minutes
Act 2: about 45 minutes

PRESENTING PARTNER

DIRECTOR'S NOTE

Lucrezia Borgia notes for a massacre.

I chose to give as background to all the events a slaughterhouse that is at the same time the final destination of the work and the mental condition of the duchess, bred in order to please others, to be consumed, used; is the place of death where through torture food is prepared for others.

There is no aesthetic need but it is deeply conceptual in the choice to transport the work in a historical period closer to us. I think it is important to bring the story closer to facts that still touch us and not try to distance the events hiding behind Renaissance velvets; take a position with respect to the Twenty Years is for me, especially today, vital.

Lucrezia Borgia lo dice chiaramente: “Pur per sì trista sorte nata io non era”, ma nessuno ci racconta questa donna bambina e il suo crescere in un mondo di uomini che le dicono come deve mangiare, come si deve vestire, con chi deve essere carina. E’ l’ambiente in cui cresciamo, sono le persone con cui viviamo che contribuiscono a renderci quello che siamo. La duchessa non è un mostro, è il risultato della violenza, è una pedina nei giochi di potere, è carne da macello.

Silvia Paoli

COMPOSER

Gaetano Donizetti (1797-1848) is the most prolific Italian composer of the 19th century: in his catalogue there are over seventy operatic titles of different genres. Part of the semi-serious repertoire L’elisir d’amore together with La fille du régiment and Don Pasquale, the serious works of the “Tudor trilogy” (Maria Stuarda, Anna Bolena, Roberto Devereux) and Lucia di Lammermoor, They place him as one of the most beloved and well-known exponents of musical Romanticism.