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Sat. Nov. 11, 2017, 7:30 p.m. - 10:30 p.m. Vienna

Giuseppe Verdi

Un ballo in maschera

Conductor: Jesús López Cobos, Director: Gianfranco de Bosio
With Piero Pretti, Marco Caria, Barbara Haveman

 
Cast
Synopsis
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Trailer

Jesús López Cobos | Conductor

The Spanish conductor Jesus Lopez-Cobos studied philosophy in Madrid and conducting with Franco Ferrara and Hans Swarowsky. He has conducted at festivals in Edinburgh, Salzburg, Berlin, Prague, Lucerrne, Montreux, Tanglewood, Ravinia as well as at the world´s most renowned opera stages like La Scala, the ROH Covent Garden, in Paris, at the Met or in Japan. 

From 1981 to 1990 he was GMD of the Deutsche Oper Berlin, 1984 to 1988 MD of the Spanish National Orchestra, 1981 to 1986 Permanent Guest Conductor of the London Philharmonic Orchestra, 1986 until 2001 chief conductor of the Cincinnati Symphony Orchestra, 1990 to 2000 chief conductor of the Lausanne Chamber Orchestra, 2003 to 2010 Music Director of the Teatro Real, since 2011 he has been Permanent Guest Conductor of the Orquesta Sinfonica de Galicia.

He has collaborated with the world´s most renowned orchestras, among them the Berliner and Wiener Philharmoniker, the Concertgebouw Orchestra, the Münchner Philharmoniker, the Cleveland Orchestra. He made his debut at the Wiener Staatsoper in1980 with L’elisir d’amore and has since then also conducted La Bohème, Tosca, Nabucco, Manon, La forza del destino here.

Piero Pretti | Gustaf III., König von Schweden

Piero Pretti studied under Gianni Mastino and made his debut in 2006 as Rodolfo in La Boheme. Soon after, he was singing in the Pergolesi Opera House in Jeso and at the Treviso Opera House in La traviata, in Sassari in Poliuto and in Ravenna in Il trovatore. Further performances include Iphigenia in Aulide at the Opera in Rome. In the 2011 season, Pretti made his debut in I vespri siciliani at the Teatro Regio in Turin, and also gave a concert of Arias at the Ravenna Festival.

Performances by Piero Pretti include Rigoletto at the Teatro Regio in Turin and at the Teatro Regio in Parma, in Luisa Miller at the Milan Scala, and I due Foscari at the Teatro Massimo in Palermo. In 2013, Pretti performed, among other things, Nabucco at the Milan Scala, in La traviata and Rigoletto at the Teatro Regio in Turin, in Madama Butterfly in Auckland, in Un ballo in maschera at the Milan Scala, and in La traviata at La Fenice in Venedig. In 2014, Pretti will be seen in Rigoletto at the Bayerischen Staatsoper in Munich and in Lucia di Lammermoor at the Teatro Petruzzelli in Bari.

 
 

Marco Caria | Graf René Ankarström

MARCO CARIA was born in Sardinia and is considered as one of the most important singers of his generation. He received his musical training at the Conservatorio di Sassari and received a scholarship from the Accademia Nazionale di Santa Cecilia in Rome. He has one several notable vocal competitions, like the Tito Gobbi Competition in 2004. Furthermore, he was also a multiple winner of the prestigious Plácido Domingo Operalia Competition in 2007. For several years, he has been perfecting himself under Mirella Freni. In 2008, he gave his debut in North America with the work of Don Carlo (La forza del destino) in Cincinnati, and sung the role of Rodrigo. He took part in Paggliaci and Maria Stuarda at the Teatro La Fenice, and also at the Wexford Festival Oper, the Teatro San Carlo in Naples, the Teatro Colón in Buenos Aires and at the Verbier Festival. Since the 2010/2011 season, Marco Caria is an ensemble member of the Wiener Staatsoper and has since then sung, among others, Figa­ro (Barbiere di Siviglia), Christian (Ballo in maschera), Sharpless (Madama Butterfly), Mar­cello (La Bohème), Belcore (L’elisir d’amore), Paolo, Silvio (Pagliacci), Ford (Falstaff), Albert (Werther) and Enrico (Lucia di Lammermoor).

Barbara Haveman | Amelia, seine Gattin

BARBARA HAVEMAN was born in Groningen (Holland). After her vocal degree at the Conservatoire in Maastricht, and finally with Carlos Bergonzi and Renata Scotto, she perfected herself in New York. The artist is a prizewinner of numerous singing competitions (Belvedere-Competition, Verviers-Competition, Voci Verdiane in Busseto). She gave her successful stage debut in 1995 as Salud in La Vida Breve at the Staatstheater in Oldenburg. This was followed my world wide appearences, in Parma, Ferrara, Ravenna, Amsterdam, Tel Aviv, Barcelona and Turin, Strasbourg, Paris, Toulouse, Monte Carlo, Budapest, the Bregenzer Festspielen, the Wiener Volksoper, the Hamburg Staatsoper and the Opera in Frankfurt. Her repertoire includes among others Ariadne auf Naxos, La traviata, Simon Boccanegra, Don Carlo, Die verkaufte Braut, Le nozze di Figaro, Don Giovanni, Così fan tutte, Zauberflöte, Tosca, König Kandaules, La Bohème, Pique Dame, Carmen, Un ballo in maschera, Manon Lescaut, Les Contes d’Hoffmann, Die Meistersinger von Nürnberg and Tannhäuser. She gave her debut at the Wiener Staatsoper as Salomé in Hérodiade and also sung here Manon Lescaut, Amelia (Un ballo in maschera and Simon Boccanegra) and Tosca.

 

Monika Bohinec | Ulrica

The mezzo-soprano Monika Bohinec studied at the Mozarteum in Salzburg and at the University for Music and Performing Arts in Vienna. As a student, she was a finalist and award winner of different competitions and a scholarship holder of the Richard Wagner Foundation and the Hilde Zadek Foundation.

In 2006, she made her debut as Clarissa in Die Liebe zu den drei Orangen at the Slovenian State Opera, where she appeared as Jezibaba in Rusalka, Konchakowna (Fürst Igor), Suzuki in Madama Butterfly and in the title role of Carmen.
In 2009 Monika Bohinec became ensemble member of the Mannheim National Theatre, where she sang Carmen, Sara di Nottingham (Roberto Devereux), Laura and Cieca (La Gioconda), Maddalena (Rigoletto), Giulietta (Les Contes d’Hoffmann) and Ulrica (Un ballo in maschera).

In the season 2011/2012 Monika Bohinec became ensemble member of the Vienna State Opera where she sang e.g. Larina, Grimgerde, Marthe, Farzana, Schenkenwirtin, Lola, Mary, Marcellina, Fenena, Ulrica, Suzuki, Margret, Madelon and Erste Norn.

Daniela Fally | Oscar

Born in lower austria, soprano Daniela Fally completed her vocal training at the Wiener Musikuniversität after having previously completed theater studies, musical studies and private acting classes. Since the 2009/2010 season, she is an ensemble member of the Wiener Staatsoper, after having been an ensemble member at the Wiener Volksoper for four years. Guest engagements include among others, at the Salzburger Festspielen, the Bregenzer Festspielen, the Opern­festspielen Munich (Zerbinetta 2011 and 2013), at the Bayri­sche Staatsoper Munich (Adele, Zerbinetta), the Staatsoper Hamburg (Fiakermilli, Marie/Fille du régiment 2012 and 2013, Zerbinetta), the Semperoper Dresden (Blonde, Sophie/Rosenkavalier under Christian Thielemann 2012 and 2013), the Opera houses in Zurich (Adele), Düsseldorf (Adele), Liège (Zerbinetta), and Strassburg (Blonde, Sophie/Rosenkavalier), Cologne (Zerbinetta), at the Seefestspielen Mörbisch (Adele) and at the Lyric Opera in Chicago (Adele). At the Wiener Staatsoper, she has sung among others Sophie (Rosenkavalier and Werther), Rosina, Fiakermilli, Ade­le, Oscar, Zerbinetta, and italienische Sängerin (Capriccio).

Rafael Fingerlos | Christian

RAFAEL FINGERLOS was born in Tamsweg (Salzburg) and completed his solo vocal training in 2013 at the Konservatorium Wien with honours. The baritone is a prizewinner of national and international competitions. In summer 2010, he sang at the Teatro Barocco festival in Altenburg the leading role in Michael Haydn’s Der Bassgeiger zu Wörgl. In 2015, he took part in the Young Singers Project at the Salzburg Festival, and in summer 2016 he will work at the Salzburg Festival in the premiere of Thomas Adès’ The exterminating angel. In february 2016, he gave his debut as Papageno at the Dresden Semperoper, in autumn 2016 he will tour as Harlekin (Ariadne auf Naxos) with the Nationale Reisopera through the netherlands. In 2017 he will give his debut at the Bregenz Festival as Moralès (Carmen), and in 2018 in Zimmerman's Soldaten at the Teatro real in Madrid. Lied and concerts play a central role in his artistic ability. From the 2016/2017 season, he is an ensemble member of the Wiener Staatsoper.

Ayk Martirossian | Graf Horn

AYK MARTIROSSIAN was born in Armenia and studied at the Russian Gnessin Academy. He was a soloist at the New Opera Theatre Moscow from 1994-1996, and from 1996-2004, soloist at the Bolchoi Theatre. Performances have taken him to the Bavarian State Opera, the Met, Teatro Massimo di Palermo, Teatro La Fenice, Tokyo Opera, Teatro Lirico di Trieste, to San Francisco, Canadian Opera, Las Palmas, Tel Aviv, Florenz, Turin, Lisbon and Hamburg. His repertoire includes Zaccaria, Fiesco, Lord Sidney, Balthasar, Basilio, Ferrando, Boris, Pimen, Gremin, Colline, Fafner, Geronte, Padre Guardiano, Raimondo, Alvise, Oroveso, Sparafucile, Timur, Il Grande Inquisitore, Filippo II, Don Ruy Gomez de Silva. He has worked with conductors such as Zubin Mehta, Renato Polumbo, Marcelo Viotti, Seiji Ozawa, Paolo Carigniani, Fabio Luisi, Michael Tilson Thomas, Asher Fisch and Simone Young. He is a Member of the Ensemble at the Vienna State Opera and gave his debut performance here in 1998. Here, he has performed such roles as King (Aida), Old Slave Labourer (Lady Macbeth von Mzensk), High Priest of Bel (Nabucco).

Benedikt Kobel | ein Richter

Benedikt Kobel comes from Vienna and studied at the Hochschule for Music and performing Arts there. Guest performances have led him to the Semperoper, to Leipzig, Cologne, Frankfurt, the Gärtnerplatztheater, the Zurich Opera, the Graz Oper, the Festival dei Due Mondi in Spoleto, the Arena di Verona and the Vienna Volksoper. In 1986, Benedikt Kobel gave his debut at the Vienna State Opera as 1st Gondoliere (La Gioconda). This was followed, among other, by Arturo (Lucia di Lammermoor), Kunz Vogel­gesang (Die Meistersinger von Nürnberg), Raffaele (Stiffelio), Narraboth (Salome), Steuermann (Fliegender Holländer), Malcolm (Macbeth), Don Curzio (Le nozze di Figaro), Valzacchi (Der Rosenkavalier), Henry (Die schweigsame Frau), Don Gaspar (La Favorite), Oloferno (Lucrezia Borgia), Spoletta (Tosca), Andres (Wozzeck), Dr. Blind (Die Fledermaus), Abdallo (Nabucco), Monostatos und 1st Priest (Zauberflöte), Goro (Madama Butterfly), Rodrigo (Otello), Tschaplitzki (Pique Dame), Jaquino (Fidelio), Ed­mondo (Manon Lescaut), Missail (Boris Godunow), Cajus (Falstaff) and Schmidt (Werther). 

Benedikt Kobel | ein Diener

Benedikt Kobel comes from Vienna and studied at the Hochschule for Music and performing Arts there. Guest performances have led him to the Semperoper, to Leipzig, Cologne, Frankfurt, the Gärtnerplatztheater, the Zurich Opera, the Graz Oper, the Festival dei Due Mondi in Spoleto, the Arena di Verona and the Vienna Volksoper. In 1986, Benedikt Kobel gave his debut at the Vienna State Opera as 1st Gondoliere (La Gioconda). This was followed, among other, by Arturo (Lucia di Lammermoor), Kunz Vogel­gesang (Die Meistersinger von Nürnberg), Raffaele (Stiffelio), Narraboth (Salome), Steuermann (Fliegender Holländer), Malcolm (Macbeth), Don Curzio (Le nozze di Figaro), Valzacchi (Der Rosenkavalier), Henry (Die schweigsame Frau), Don Gaspar (La Favorite), Oloferno (Lucrezia Borgia), Spoletta (Tosca), Andres (Wozzeck), Dr. Blind (Die Fledermaus), Abdallo (Nabucco), Monostatos und 1st Priest (Zauberflöte), Goro (Madama Butterfly), Rodrigo (Otello), Tschaplitzki (Pique Dame), Jaquino (Fidelio), Ed­mondo (Manon Lescaut), Missail (Boris Godunow), Cajus (Falstaff) and Schmidt (Werther). 

Sorin Coliban | Graf Warting

SORIN COLIBAN was born in Bucharest and studied there at the Academy of Music. He sang at the ROH Covent Garden, the Paris Opera, in Athens, San Francisco, Santiago de Chile, Tel Aviv, at the Rossini Festival in Pesaro, the Bayerische Staatsoper, at the Vienna Festival, the Bregenz Festival and the Wiener Volksoper, to only name a few. His repertoire includes parts such as Philipp II. (Don Carlo), Fiesco (Simon Boccanegra), Procida (Vêpres siciliennes), Ramfis (Aida), Ferrando (Il trovatore), Banquo (Macbeth), Don Giovanni, Leporello and Il Commendatore (Don Giovanni), Sarastro (Die Zauberflöte), Guglielmo (Così fan tutte), Lord Sidney (Il viaggio a Reims), Holländer (Der fliegende Holländer). He made his debut at the Wiener Staatsoper in 2004 as Monterone (Rigoletto) and also sang the Grand Inquisiteur (Don Carlos), Landgraf (Tannhäuser), Basilio (Il barbiere di Siviglia), Capulet (Romeo et Juliette), Fra Melitone (La forza del destino), Fasolt (Das Rheingold), Bartolo (Le nozze di Figaro), Colline (La Bohème). 

 

ACT 1, Scene 1 Courtiers, delegates, officers and citizens are waiting for an audience to begin at the king´s palace in Stockholm. Most of them are favourably disposed towards the king, only Count de Horn and Count Warting and their supporters are eager to take his life. Gustavus III enters and accepts the petitions of his subjects. Oscar the page gives him a list of the guests invited to a masked ball. To his delight, the king fins that the list includes the name of Amelia, with whom he is secretely in love. Amelia, however, is the wife of his secretary and most faithful friend Count René Ankarström. After the gathering has dispersed at a sign from the king, Count Akarström enters. He finds the king in a pensive and gloomy mood, but attributes this to worry about the conspiracy engineered by Horn and Warting. However, the king does not wish to hear any more about it, although Ankarström persistently warns him of the impending dangers. Oscars enters with the supreme judge, who asks the king to sign a sentence of banishment against the soothsayer Ulrica Arvedson. When asked his opinion by the king, Oscar defends the soothsayer in an ironic ballad, thus awakening the king´s curiosity. Following a sudden impulse, he invites those waiting in the antechamber to visit the soothsayer three hours after sunset. Disguised as a fisherman, he himself intends to have his future told. The courtiers look forward to some fun, while Ankarström again warns the king against the ploters, who hope to have an opportunity to make an attempt on the king´s life. ACT1, Scene 2 The common people have gathered together at the soothsayer´s abode.  Fascinated, they watch while Madame Arvedson, as if in a trance, conjures up the “King of the Abyss”. The king enters, but is pushed back by the crowd. Ulrica is now ready to make her prophecies, whereupon the sailer Christian steps forward, wanting to know whether and when he will be rewarded for fifteen years faithful service to the king. Ulrica promises him promotion and financial reward. The king immediately makes this come true: unnoticed, he slips the sailor an officer´s commission and a roll of money. The sailor soon discovers these, to the great pleasure of the crowd. One of Amelia´s servants asks to be admitted and begs the soothsayer for a private audition for his lady. The king hides as the people are sent out. He thus discovers that although Amelia secretly loves him, she wants Ulrica to give her a remedy for this love. Ulrica gives her advice: Amelia must herself look for a certain herb at midnight at the place of execution beneath the gallows. She intends to go to this terrible place the same night, and the king resolves to follow her there. A crowd of curious onlookers, including members of the court and the plotters in disguise, force their way in. Amelia retires. In a cheerful canzonet, the king describes the dangers of life as a fisherman, and is the first to have his palm read. After some initial hesitation, Ulrica predicts his imminent death at the hands of a friend. Everybody is appalled, including the plotters, and only the king himself laughs at the gullibility of his court. At his insistence the soothsayer also names the murderer: it will be the person who first gives him his hand. Nobody dares to refute the prophecy when Ankarström appears. Unsuspectingly, and to the general relief of the onlookers, he shakes the king´s hand in welcome. Ulrica recognizes the king, who has decided against her banishment and makes her gift. Word has spread that the king is present, and an enthusiastic crowd of people forces its ways in and pays homage to the monarch. ACT3 At midnight Amelia arrives at the place of execution to pick the herb oh which Ulrica has told her. The king, having secretly followed her, steps forwards and confesses his love for her. At this insistence, Amelia is moved to make a confession of love, but legs him not to forget that she is the wife of a loyal friend. Suddenly Count Ankarström approaches to warn the king that the plotters have followed him. Amelia has time to hide her face behind a veil. The king changes cloaks with Ankarström and hurries away after his friend has promised him to escort the veiled stranger back to the town, and to leave her at the gates of the town without speaking to her or looking at her. Just as Amelia and Ankarström are about to leave, the conspirators arrive and find not the king, but only the latter´s secretary. Disappointed at the failure of their murderous plans, they at least want to see who the veiled lady is. Ankarström tries to prevent them, but when the men draw their weapons Amelia draws back her veil to reveal her face. The conspirators deride Ankarström for walking with his own wife by night at the place of execution. Ankarström is shattered, feeling that he has been deceived by both wife and friend. He invites Horn and Warting to visit him next day and escorts his depondent wife home to the scornful laughter of the conspirators. ACT3 Scene 1 Ankarström threatens to kill Amelia, and is not even prepared to listen her protestations of innocence. She begs him to allow her to embrace her son just one last time. Ankarström grants her request, and then decides to kill the king in her place. Filled with bitterness, he reflects on his former love for Amelia, the king´s apparent breach of faith, and the hatred into which the old friendship has been transformed. When the conspirators appear, he tells them that he knows about their assassination plans, and that from now on they can consider him their man. In order to prove his credibility, he offers them this only son as a pledge, and the new alliance is sealed with an oath. Ankarström wishes to reserve for himself the privilege of killing the king, but his request is refused: this will be decided by drawing lots. The unsuspecting Amelia, who wishes to announce Oscar the page, has to draw the lot: it falls to Ankarström. Oscar is admitted, bearing an invitation to the masked ball which Amelia must also attend. Amelia suspects what her husband and the conspirators have in mind, and desperately tries to think of a way out. Ankarström, Horn and Warting agree on a sign of recognition: a blue costume with a blood-red sash – and the password “Morte”. Act3 Scene2 In his study the king resolves to give up Amelia, and to send her and Ankarström back to the latter´s home town; he even signs a decree to this effect. Oscar brings the king an anonymous letter from an unknown lady warning him about an attack on his life. However, Gustavus does not want to appear timid, and decides to go to the ball to see Amelia once again. Act3 Scene 3 The guests have gathered in the ballroom, among them the masked conspirators. Ankarström tries to find out from Oscar which costume and mask the king is wearing, but is initially given an evasive answer. However, Oscar then gives him the answer he requires. Amelia and the king meet among the hustle and bustle of the ball. Ankarström, who has been watching the couple, throws himself at the king and fatally wounds him with his dagger. The guards and the angry throng seize the assassin, whom the dying king forgives. He protests that Amelia´s honour is untarnished, gives the shaken Ankarström the transfer decree and dies.