The conductor, pianist, composer and author Frédéric Chaslin was born in Paris and received his training at the conservatoire of his hometown as well as the Mozarteum in Salzburg. In 1989 he began his career as the assistant of Daniel Barenboim in Paris and at the Bayreuther Festspielen. In 1991, he became the assistant to Pierre Boulez with the Ensemble Intercontemporain. Frédéric Chaslin gave his international debut as a conductor in 1993 at the Bregenz Festival. He was then the musical director at the Opera in Rouen. From 1999 to 2002, he was the chief conductor of the Jerusalem Symphony Orchestra. In 2002 he gave his debut at the New York Metropolitan Opera. His performances have led him, among others to Berlin, Munich, Leipzig, Madrid, Barcelona, Rome, Venice, Paris, London, Los Angeles and Tokyo. He gave his debut at the Wiener Staatsoper in 1997 and directed a large number of performances, like Il barbiere di Siviglia, La Bohème, Les Contes d’Hoffmann, L’elisir d’amore, Guillaume Tell, Lucia di Lammermoor, Macbeth, Tosca, La traviata, I puritani, Roberto Devereux, Stiffelio, Mefistofele, Werther and La Juive.
KSCH Otto Schenk was born in Vienna in 1930 and experienced a childhood strongly influenced by the horrors of the Nazi regime.
After his education at the Max Reinhardt Seminar, he made his acting debut in Vienna. The first places of appearance in his career were the Theater an der Josefstadt and the Wiener Volkstheater. As of 1953 he also worked as theatre director and as of 1957, as opera director. Very soon his career led him to the world´s most important stages, for example the Wiener Burgtheater, the Münchner Kammerspiele, the New York Met, La Scala in Milan, the ROH Covent Garden, the Bayerische and Hamburgische Staatsoper or the Deutsche Oper Berlin. From 1965 to 1990 he was leading stage director at the Wiener Staatsoper, between 1986 and 1988 he was member of the Board of the Salzburger Festspiele, between 1988 and 1997 director of the Theater in der Josefstadt. Furthermore, he appeared in numerous television plays. He has staged about 30 different operas at the Wiener Staatsoper and furthermore performed as Frosch here.
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.
MARIO CASSI made his debut in 2001 as part of the Laboratorio Voci in Musica as Guglielmo (Così fan tutte) and in Henze's Pollicino. He is the winner of several prizes of international competitions, for example Domingo’s Operalia-competition (2003). His repertoire ranges from baroque to contemporary music, with bel canto works in focus. Mario Cassi sang among others at the Teatro dell’Opera in Rome, at the Milan Scala, the Bayerischen Staatsoper, theThéâtre des Champs-Elysées, at the Ravenna-Festival, in Valencia, Buenos Aires, Tel Aviv, Florence, Amsterdam, Moscow, Macerata, Paris, Toulouse, Florence, Rome and many more cities. Among others, he has performed as Malatesta, Marcello, Dandini (La cenerentola), Guglielmo, Leicester (Maria Stuarda), Figaro (Il barbiere di Siviglia), Conte Robinson (Il matrimonio segreto), Papageno, Alphonse (La Favorite), Valentin (Faust), Ford, Gianni Schicchi, Achilla (Giulio Cesare), Sharpless, Silvio (Pagliacci) and Belcore. Future performances are leading him among others, to the Semperoper in Dresden, to Monte Carlo, Tel Aviv and Liège. He made his debut at the Wiener Staatsoper in 2014 as Belcore.
Paolo Rumetz began studying vocal arts in his hometown Trieste and perfected his skills in Munich with Josef Metternich and in Rome with Renato Guelfi. Paolo Rumetz made his debut in Cimarosa´s Il Maestro di Cappella in Spoleto. In 1988 his first appearance at the Teatro Verdi in Trieste in Strauss’ Ariadne auf Naxos followed. Since then, Paolo Rumetz has regularly been engaged in London, Pisa, Lucca, Prague, Macerata, Venice, Ravenna, Verona, Turin, Tokyo, at La Scala in Milan, in Barcelona, Zurich, Leipzig, Florence. Paolo Rumetz’s repertoire includes roles such as Enrico in Donizetti´s Lucia di Lammermoor, Sharpless in Puccini´s Madama Butterfly, Alberich in Wagner´s Das Rheingold, Doktor Dulcamara in Donizetti´s L’elisir d’amore, Sulpice in Donizetti´s La Fille du regiment, David in Mascagni´s L’amico Fritz, Don Geronio in Rossini´s Il turco in Italia, the title role in Verdi´s Falstaff, Don Bartolo in Rossini´s Il barbiere di Siviglia, Jago in Verdi´s Otello, Graf Gil in Ermanno Wolf-Ferrari´s Il segreto di Susanna, Fra Melitone in Verdi´s La forza del destino, Taddeo in Rossini´s L’italiana in Algeri.
Act 1 Adina, a tenant farmer in a rather remote village, is young, rich – and well-read. She is greatly admired by Nemorino, a penniless worker. Adina reads the country folk a moving version of the story of Tristan and Isolde, which she, however, finds rather amusing: Tristan, whom Isolde does not love, obtains a love potion from a miracle-monger. The magic potion enables him to win Isolde’s heart. Adina is glad that such potions no longer exist. Nemorino – who deeply loves her, although she does not accept him – listens attentively to the story. Sergeant Belcore and his soldiers march into the village and take up quarters there. Belcore behaves chivalrously towards Adina, but at the same time asks for her love. However, the capricious Adina is not to be so easily won. Nemorino finds an opportunity to reaffirm how dearly he loves Adina. She, however, rebuffs him, saying that she wishes to remain free and untied. The arrival of Dulcamara causes considerable excitement. He announces that he is a wonder doctor of great repute who has a remedy for every conceivable ailment. The country folk are taken in by his glib patter. Finally, Nemorino asks the charlatan whether he also has a love potion. Dulcamara immediately takes advantage of the situation and sells the grateful Nemorino the coveted potion for all the money he has. Dulcamara takes the precaution of saying that the potion will only take effect after 24 hours; what he has sold the unsuspecting Nemorino is in fact nothing more than a bottle of Bordeaux wine. Nemorino immediately drinks some of it, and notices a remarkable improvement in his mood. He pretends to be impartial to Adina: let her now court him! Adina is not happy with this sudden change of heart either. She wants to find out whether Nemorino’s feeling for her have actually grown cold, and at once declares her intention of marrying Belcore, and of doing so that very day, as the sergeant will have to move on next morning. Nemorino, at first confident of success thanks to his magic potion, is now completely flabbergasted. This was not the effect he had expected from the love potion. If only he can win just one more day ... Act 2 In the meantime, preparations for the wedding are in full swing. Dulcamara plays an improvised Venetian love scene with Adina. The notary appears with the marriage contract, but Adina says she will sign it later. Nemorino asks Dulcamara for a second bottle of the magic elixir. This can naturally be arranged – if Nemorino can pay for it. The latter, however, does not have a single penny left to his name. In his despair he lets Belcore enlist him as a soldier, and immediately buys the second bottle with the bounty which he receives.The supposed love potion takes effect unexpectedly rapidly: Nemorino is at once surrounded by a crowd of girls. He is not particularly surprised at this, as he has already done full justice to his elixir. However, he is completely unaware of the real reason for this sudden display of affection. Giannetta has divulged some news that until now has been a closely kept secret: Nemorino’s wealthy uncle has died, leaving Nemorino his sole heir. Nemorino takes great delight in the company of the girls. He ignores Adina completely, which arouses her jealousy. From Dulcamara she learns why Nemorino has signed up. The charlatan now offers her the love potion. However, she refuses it, as she knows a better means of winning Nemorino, of whom she is very fond after all: her own eyes. Nemorino believes he has seen a secret tear in Adina’s eyes. Does she love him after all? After his beautiful romance, his suspicions are confirmed by Adina herself: she confesses her love for him, and gives him back his enlistment papers. She has paid the bounty back to Belcore and bought Nemorino free. Belcore finds his bride in the arms of another man. Although he is disappointed, he accepts the situation with good humour; after all, there will always be plenty of girls for a soldier like him! Dulcamara takes advantage of the situation. He boasts that it is thanks to his magic potion that Nemorino has not only found love, but also inherited a fortune.