Archive detail

Back to overview

Sat. Dec. 2, 2017, 7:30 p.m. - 10 p.m. Vienna

Gaetano Donizetti

Don Pasquale

Conductor: Evelino Pidò, Director: Irina Brook
With Alessandro Corbelli, Maxim Mironov, Pietro Spagnoli, Andrea Carroll

This production is made possible thanks to the support of
  • Gaetano Donizetti  |  Musik
  • Irina Brook  |  Director
  • Noëlle Ginefri-Corbel  |  Bühne
  • Sylvie Martin-Hyszka  |  Costumes
  • Arnaud Jung  |  Light Design
  • Martin Buczko  |  Choreography
  • Evelino Pidò  |  Conductor

Evelino Pidò | Conductor

Evelino Pidò recieved his musical training at the Conservatoire in Turin and took courses for orchestral conducting at the Musikhochschule in Vienna. His international career began with the opening of the Three Worlds Festival in Melbourne with Madama Butterfly; it was followed by conducting engagements at the Sydney Opera House. In 1993 Evelino Pidò gave his debuts at the Santa Fe Festival in America, at the Los Angeles Opera and the Royal Opera House in London. Other engagements have taken him to the festival in Aix-en-Provence, at the Opéra Bastille in Paris, the Metropolitan Opera in New York, at the Théâtre des Champs-Elysées in Paris, the Opéra National de Lyon and the Grand Théâtre in Geneva. At the Royal Opera House, he conducted La cenerentola and Lucia di Lammermoor, at the Teatro Real La gioconda and at the Met La sonnambula. He collaborates with numerous renowned orchestras including the Royal Philharmonic Orchestra in London, the Orchestre de la Suisse Romande and many others. In 2011, he gave his debut at the Vienna State Opera with La Sonnambula. Further performances at the house on the ring include Anna Bolena, Roberto Devereux, Simon Boccanegra and Adriana Lecouvreur.

Alessandro Corbelli | Don Pasquale

ALESSANDRO CORBELLI was born in Turin and studied under Giuseppe Valdengo and Claude Thiolas. Since the 1970s, he has been a guest at big international opera houses and at important festivals. The singer has performed on numerous occasions at the Metropolitan Opera, the Milan Scala, the Bayerische Staatsoper, the Opéra National de Paris, Florence, the ROH Covent Garden in London, the Teatro Comunale in Bologna, the Teatro La Fenice in Venice, the Chicago Lyric Opera as well as the Salzburger Festspielen and to Glyndebourne. He celebrated, or respectively still celebrates success with among others, roles like Belcore and Dulcamara (L’elisir d’amore), Taddeo (L’italiana in Algeri), Don Alfonso (Così fan tutte), Marcello (La Bohème), the leading role in Falstaff, Gianni Schicchi or Le nozze di Figaro or as Dandini (La cenerentola). Alessandro Corbelli made his debut at the Wiener Staatsoper in 1987 as Silvio (Pagliacci) and sang works like Don Alfonso (Cosi fan tutte) Haly (L’italiana in Algeri), Figaro (Le nozze di Figaro), Riccardo (Puritani), Bartolo, and Don Magnifico (La cenerentola).

Maxim Mironov | Ernesto

MAXIM MIRONOV, born in Tula (Russia), studied in Moscow and counts as an important Rossini-tenor of his generation. At the start of his career, he won the first prize in the singing competition Neue Stimmen in Gütersloh. Performances have led him since then among other to the Milan Scala, the Hamburg Staatsoper, the Palau de les Arts in Valencia, the Opéra de Monte-Carlo, the Washington National Opera, the Los Angeles Opera, the Semperoper and La Fenice. His repertoire includes roles in La cenerentola, L’italiana in Algieri, Don Giovanni, Anna Bolena, Il barbiere di Siviglia, Il viaggio a Reims, Orphée et Eurydice, Così fan tutte, Die Entführung aus dem Serail, Maometto II, La muette de Portici and Il turco in Italia. Current engagements: Almaviva (Barbiere) in Berlin, Dresden, Tokyo; Don Ramiro (Cenerentola) in Hamburg, Naples, Washington and Lindoro (Italiana in Algeri) in Moscow and Toulouse. At the Wiener Staastoper, Maxim Mironov sang Lindoro in 2011 and has also sung Ramiro and Almaviva.

Pietro Spagnoli | Malatesta

PIETRO SPAGNOLI is a regular worldwide guest at the important festivals and big opera houses. His repertoire includes important roles for baritone and bass-baritone by Mozart, Rossini and Donizetti like Don Giovanni, Leporello, Figaro and Conte d’Almaviva in Nozze di Figaro, Don Alfonso, Guglielmo, Figaro in Il barbiere di Siviglia, Dandini, Rimbaud (Comte Ory), Prosdocimo in Turco in Italia, Belcore, Dulcamara and Malatesta. His repertoire also includes roles like Orfeo von Monteverdi, Graf in Il matrimonio segreto, Graf Asdrubale and Macrobio in La pietra del paragone, Figaro in Paisiello’s Il barbiere di Siviglia, Lescaut in Puccini’s Manon Lescaut, Silvio in Pagliacci, as well as Graf in Capriccio. Current engagements include Sulpice in La Fille du régiment at the ROH Covent Garden and the Teatro Real in Madrid, Dandini and Dulcamara at the New York Metropolitan Opera, Prosdocimo (Il turco in Italia) a the Festival Aix-en-Provence and in Pesaro, Malatesta (Don Pasquale) in Peking, Bartolo (Barbiere di Siviglia) in Brussels, Don Alfonso in Barcelona, Falstaff in Karlsruhe, Mustafà in L’italiana in Algeri in Florence and Toulouse. At the Wiener Staatsoper, he gave his debut in 1996 as Leporello and also sang Don Alfonso, Conte d’Almaviva, Don Magnifico and Dulcamara.

Andrea Carroll | Norina

ANDREA CARROLL studied at the Manhattan School of Music. She has received numerous awards (for example the Houston Grand Opera´s Ealeanor McCollum Competition, Metropolitan Opera National Council Audition) and has received grants for example from the Shoshana Foundation or the William Matheaus Sullivan Foundation. Most recently she was a member of the Houston Grand Opera Studio for two years. There, she sang parts such as Musetta in La Bohème, Adele in Die Fledermaus, Anne Egerman in A Little Night Music, Woglinde in Das Rheingold. At the Utah Opera she sang Susanna in Le nozze di Figaro and Leila in Les pêcheurs de perles. At the Wolf Trap Opera she performed Corinna in Il viaggio a Reims and Zerlina in Don Giovanni. At the Glimmerglass Opera she was Julie Jordan in Carousel and Rose Segal in Later the Same Evening. Furthermore she sang Rosalba in Florencia en el Amazonas at the Washington National Opera; at the Seattle Opera she performed as Echo in Ariadne auf Naxos. As of September 2015 she is member of the ensemble of the Wiener Staatsoper. 

Wolfram Igor Derntl | Notar

Wolfram Igor Derntl was born in Mauthausen. He completed his vocal studies at the Goetheanistisches Konservatorium with honours. In 2004 he was engaged at the Wiener Staatsoper and has since then also been member of the Wiener Hofmusikkapelle. Before his fixed engagement at the Wiener Staatsoper, he was for example engaged at the Wiener Volksoper, the Wiener Kammeroper, the Stadttheater St. Pölten, in Klosterneuburg, Schwetzingen or at the Wiener Burgtheater. He was successful as Tamino (Zauberflöte), Basilio and Don Curzio (Figaro), Pedrillo (Entführung aus dem Serail), Barinkay (Zigeunerbaron), Symon (Bettelstudent), Adam (Vogelhändler) and Alfred (Fledermaus). Since his engagement at the Wiener Staatsoper he has performed numerous roles, apart from his administrative activities for the choir. In 2009/2010 he was engaged as a soloist at the Wiener Staatsoper. 

The old, wealthy, but miserly bachelor Don Pasquale wants to marry off his nephew Ernesto: to a wealthy woman. Ernesto however prefers the young, destitute widow Norina, who loves him. Although Don Pasquale has never seen Norina, he rejects the marriage – and throws Ernesto unceremoniously out of his house. Despondent, Ernesto writes a farewell letter to his beloved Norina. But Norina will not give Ernesto up... Don Pasquale's new plan is now get married himself – and his friend Dr. Malatesta is to help him in this endeavour. Malatesta however sticks by Ernesto and contrives a complex plot in which Norina and Ernesto have a part to play: Norina is to be presented to the bachelor as Malatesta's well brought up sister Sofronia, who grew up in a convent. Don Pasquale is enchanted by this silent, virtuous creature – and enters into sham marriage arranged by Malatesta (but which Don Pasquale believes to be real). Immediately after the wedding, Sofronia (= Norina) changes her behaviour. She turns into a lavish, loveless, snappish shrew who terrorizes Pasquale and is – obviously – deceiving him. To get her out of the house again, Don Pasquale wants to give his nephew Ernesto not only a rich dowry, but also a home again, along with Norina (whose real identity is still unknown to him). Sofronia's true identity is then revealed. He has to learn his lesson: a man of the older generation should not try to court a younger woman...