Archive detail

Back to overview

Sat. March 23, 2019, 7 p.m. - 10 p.m. Vienna

Pietro Mascagni, Ruggero Leoncavallo

Cavalleria rusticana / Pagliacci

Conductor: Graeme Jenkins, Director: Jean-Pierre Ponnelle
With: Elīna Garanča, Yonghoon Lee, Paolo Rumetz, Fabio Sartori, Marina Rebeka, George Petean, Jörg Schneider, Orhan Yildiz


Graeme Jenkins | Conductor

The English conductor Graeme Jenkins studied at the Royal College of Music and at the University of Cambridge. Over the course of his career, he has received numerous engagements, among others to Glyndebourne, the ROH Covent Garden, the English National Opera, the Scottish Opera, Opera North, the Australian Opera, the Canadian Opera, the Deutsche Opera Berlin as well as the Paris Opera. At the Dallas Opera, where he has been director, he has celebrated success with the Ring des Nibelungen, Wozzeck, Jenu˚fa, Ariodante, Lohengrin, Pique Dame, Macbeth, Fledermaus and Roberto Devereux. As an orchestral conductor, he has stood and continues to stand among others on the podium of the Danish National Radio Symphony Orchestra, the Melbourne and West Australian Symphony Orchestras, the Orchestre Philharmonique de Radio France, the Orchestre Philharmonique de Monte Carlo as well as numerous American orchestras. Graeme Jenkins introduced himself to the general public of the Wiener Staatsoper with his direction of Billy Budd on the 27th October 2005, and went on to also conduct Jenu˚fa, Cavalleria rusticana, Pagliacci as well as Der fliegende Holländer.

Elīna Garanča | Santuzza

ELINA GARANCA was born into a very musical family in Riga in 1976. As of 1996 she studied at the Latvian Music Academy in her hometown. She caught the music world´s attention with her success at the International Mirjam Helin singing competition in 1999 and at the BBC´s Cardiff Singer of the World 2001. After stops in Meiningen and Frankfurt she was engaged as member of the ensemble at the Wiener Staatsoper in 2003, where she performed numerous roles, for example Orlofsky (Fledermaus), Octavian (Rosenkavalier), Cherubino (Nozze di Figaro), Dorabella (Così fan tutte), Rosina (Barbiere di Siviglia), Nicklausse (Contes d’Hoffmann) and Bersi (Andrea Chénier), Adalgisa (Norma) as well as in new productions of Werther und as Meg Page in Falstaff.Her fantastic international career soon lead her to the world´s most renowned cultural centres, opera houses and concert halls. Thus, she for example sings at the New York Met, the ROH Covent Garden, at the Salzburger Festspiele, at the Festspielhaus Baden-Baden, at the Théâtre des Champs-Elysées in Paris, in Tokyo, at the Bayerische Staatsoper München, in Aix-en-Provence, Luzern, Berlin, Riga.
Elīna Garanča appears courtesy of Deutsche Grammophon Gesellschaft.

Portrait Elīna Garanča

Yonghoon Lee | Turiddu

Biography coming soon.

Paolo Rumetz | Alfio

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.

Zoryana Kushpler | Lucia

Zoryana Kushpler was born in Lviv (Ukraine). At the age of five she took piano lessons with her mother, later she changed to the violin. From 1993 on she studied vocal arts in her father´s class at the University of Music in Lviv. In 1998 she changed to the University of Music in Hamburg. Performances have led her for example to Zurich, Geneva, Venice, Milan, Florence, Hamburg, Berlin, London and to Bern, where she was member of the ensemble of the Stadttheater Bern from 2004 to 2006. There, she interpreted roles like Sesto (Giulio Cesare) or Preziosilla (Forza del destino). She sang Adelaide (Arabella) at the Oper Graz and Carmen, Giulietta (Contes d’Hoffmann), Maddalena (Rigoletto) and Prinz Orlofsky at the Volksoper.

She made her debut at the Wiener Staatsoper in 2007 as Adelaide. Here, she also performed (selection) Polina and Daphnis (Pique Dame), Olga (Eugen Onegin), Giulietta (Les Contes d'Hoffmann), Fenena (Nabucco), Suzuki (Madama Butterfly), Ulrica (Un ballo in maschera), Prinz Orlofsky (Die Fledermaus) and Preziosilla (La forza del destino).

Roles at the Wiener Staatsoper 2013/ 2014: e.g. Smeton, Orlofsky, Lola, Marthe, Fenena.

Marina Rebeka | Nedda (Colombina)

Marina Rebeka was born in Riga/Latvia. In October 2007 she won the first prize in the renowned singing competition Neue Stimmen in Gütersloh. She sang Violetta in La traviata at the Royal Opera House Covent Garden in London, she performed in Moise et Pharaon at the Salzburger Festspiele, at the Deutsche Oper Berlin as Donna Anna in Don Giovanni, at the Rossini Opera Festival in Pesaro she interpreted the Contessa di Folleville and Madama Cortese in Il viaggio a Reims, also Anna in Maometto II., at the New York Metropolitan Opera she sang Donna Anna – a role which she also performed at the Zürcher Oper and the Lyric Opera Chicago. 

Marina Rebeka made her debut at La Scala in Milan as Contessa di Folleville and at the Latvian National Opera Riga as Adina in L’elisir d’amore. Furthermore, performances have led her to the Komische Oper Berlin and the Opera National de Lorraine in Nancy. Future engagements include appearances in La traviata in Munich, Chicago, Zurich and New York, in Lucia di Lammermoor in Amsterdam and Zurich as well as in Così fan tutte and L’elisir d’amore in Zurich.

George Petean | Tonio (Taddeo)

GEORGE PETEAN was born in Cluj-Napoca and studied piano, trombone and vocal arts. He made his stage debut at the opera Cluj-Napoca in 1997 as Don Giovanni. In 1999 he was awarded the Grand Prix of the international singing competition Hariclea Darclée. He made his international breakthrough with La Bohème at the Teatro dell´Opera di Roma in the year 2000. Between 2002 and 2010 he was a member of the Hamburgische Staatsoper. At the same time he appears on the world´s most renowned opera stages, for example at the ROH Covent Garden, Teatro Comunale di Bologna, Opera Frankfurt, Opéra de Paris, Bayerische Staatsoper, Bregenzer Festspiele, Grand Théâtre de Genève, Monte Carlo, Met, Gran Teatre del Liceu Barcelona, Deutsche Oper Berlin, Aalto Theater Essen, Lausanne, Antwerpen, Gent, Berlin Staatsoper, Toulouse, Strasbourg, Rome. In 2012 he successfully debuted at the opera in Rome in the title role of Simon Boccanegra under the direction of Riccardo Muti. In 2013 he sang Carlo Gérard at the Avery Fisher Hall in New York and Attila at the Theater an der Wien. He made his debut at the Wiener Staatsoper in 2001 as Barbiere- Figaro and has since then also sung Rodrigue, Posa, Ankarström, Enrico here.



Jörg Schneider | Beppo (Arlecchino)

The artist, who was born in Wels, received his first musical education at the Wiener Sängerknaben. In 1995 he became member of the ensemble of the Staatstheater Wiesbaden. Between 1997 and 2005 he was ensemble member of the Deutsche Oper am Rhein Düsseldorf. Among his most important performances are for example David (Meistersinger von Nürnberg) at the Maggio Musicale Fiorentino. Steuermann (Fliegender Holländer) in Rome, Verona and Brussels, Don Ottavio in Japan, Mozart-Requiem at the Semperoper, Leukippos in Daphne in Barcelona, Linz and Dresden, Belmonte at the Deutsche Oper Berlin at at the Maggio Musicale Fiorentino, Tamino in Florence, Flamand in Paris and in Garmisch-Partenkirchen. Further performances for example lead him to La Scala in Milan, to Stuttgart, Turin, Zurich, Madrid, Baden-Baden, Hongkong. In 2007 he became ensemble member of the Volksoper, where he sings numerous parts. He made his debut at the Wiener Staatsoper in 1989 and for example sang Tamino, Jaquino, Flamand, Alfred here. Conductors, with whom the artist has collaborated for example include: Christian Thielemann, Riccardo Muti, Claudio Abbado, Dennis Russell Davis, Peter Schneider, Gustav Kuhn and Semyon Bychkow. 

Orhan Yildiz | Silvio

ORDAN YILDIZ was born in Turkey. He studied at the Mersin Conservatory, where he graduated in 2002. As of 2000 he sang at the Staatsoper Mersin. He was finalist and winner of several competitions, among them the Siemens Voice Competition in Istanbul and the Belvedere competition, the Leyla Gencer competition, the Francisco Vinas or the Operalia competition. As of 2010 he sang at the Theater Braunschweig as ensemble member and performed essential parts, for example as Figaro (Il barbiere di Siviglia), Conte d’Almaviva (Le nozze di Figaro), in the title role of Don Giovanni, Ping (Turandot), Belcore (L’elisir d’amore), Klingsor (Parsifal), Guglielmo (Così fan tutte), Enrico in Donizetti´s Lucia di Lammermoor, Giorgio Germont in La traviata, Nick Shadow in The Rake’s Progress, Jeletski in Pique Dame, Ford (Falstaff). He guested at the Hamburgische Staatsoper, at the opera in Bremen, at the Teatro Municipal de Santiago de Chile, at the Théâtre du Capitole de Toulouse and at the Grachtenfestival Amsterdam. As of the season 2016/2017, he will be ensemble member of the Wiener Staatsoper. 

Cavalleria Rusticana – Pietro Mascagni


Before Turiddu was called to military service, he got engaged to Lola. When he returned home from the army, he was disappointed to find that while he was gone Lola had married the wealthy Alfio. Turiddu tries to forget his sorrows with Santuzza…

Easter morning in a village in Sicily

Turiddu serenades Lola, with whom he has re-established contact. The village inhabitants are happy because it is Spring. Driven by a feeling of anxiety, Santuzza looks for Turridu at his mother, Lucia´s, tavern on the village square. Alfio, who is awya on business, returns and sings about his wife´s fidelity. Easter bells summon the villagers to early morning Mass.
Santuzza, feeling that she is wicked due to her relationship with Turiddu, remains outside the church, She suspects that Turiddu is unfaithful and confides her sorrows to his mother. He is taken to task, but he resorts to excuses. However, as Lola passes by, he frogets Santuzza and her accusations, pushes her away and runs after Lola. Santuzza curses him. Deeply wounded and with hurt pride, she reveals to Alfio the adulterous relationship his wife has with Turiddu. In a rage, Alfio swears to seek revenge. Only now does Santuzza realize with despair what a tragic state of affairs she has caused.

Intermezzo sinfonico

When the church service is over, Turiddu invites everyone to join him in a traditional drink. He also offers Alfio a cup. Alfio refuses rudely. Turiddu realizes that Alfio knows about the adultery. They challenge each other to a duel according to Sicilian ritual.
Fear of death rises in Turiddu and he begs his mother for her blessing Santuzza. Then he goes to the agreed upon meeting place for the duel.
The cry, « Turiddu has been murdered » ends the tragedy.


Pagliacci - Ruggero Leoncavallo


Tonio, an actor who plays the part of Taddeo in the comedy, outlines the play in the prologue speaking, as it were, for the playwright : for once, the author would like to be a painter whose subject is real life even if he is using actors to do so. However, we should not dwell on the dancing actors, but rathersubmerge ourselves into the souls of the people.

Act 1

The story begins on the feast of the Assumption of the Virgin Mary into heaven, August 15.
Scene 1. – Canio´s troupe of actors enters, warmly welcomed by the villagers. In addition to Nedda, the wife of the manager, Peppe and Tonio are members of the theater group. Canio announces a performance for tongiht. When Tonio tries to help Nedda out of the wagon, Canio pushes him alway jealously. The actors are invited to have a drink. Someone jokes that Tonio is only too happy to stay behind so that he can have a rendezvous with Nedda. Canio reacts violently : in plays he may take the part of a clumsy, betrayed husband, but in real life he would never accept infidelity.
Bells summon the villagers to evening church services.

Scene 2. – Nedda is upset by Canio´s thinly disguised threats. She feels confined by this jealousy and would like to escape her invisible cage so that she could be as free as a bird…
Tonio eavesdropped on her. He wants to force his love on Nedda ; he is, however, scornfully rejected.

Scene 3. – Silvio, a young farmer, appears, Nedda has fallen in love with him. He entreats her to leave Canio and run away with him tonight. At first she hesitates, but then agrees without suspecting that Tonio has heard the two of them talking and hastily summoned Canio out of the nearby tavern. Just as Nedda is saying goodbye to her lover, Canio bursts on the scene raging mad with jealousy. Silvio manages to get away withou tbeing recognized. Now Canio´s rage is turned against Nedda. He threatens her with his knife and demands that Nedda reveals her friend´s name. She remains silent. Peppe is able to get the knife away from Canio and, thus, the worst is avoided. What is more, it is almost time for the people to arrive for the performance. With difficulty Canio calms himself and gets ready for the play.


Act 2

Scene 1.- Shortly before the comedy begins : Tonio beats on a large drum ; the audience, including Silvio, is waiting with anticipation. Nedda, who is collecting money, warns her lover about Canio´s jealousy.

Scene 2.- The play about Columbina, Arlecchino, Taddeo and Pagliaccio begins. When Nedda in her role as Colombina uses the same words to say goodbye to the serenading Arlecchino as she spoke to Silvio, Canio gets the play and real life all mixed up. Beside himself with jealousy, he demands on the public stage to know the name of Nedda´s lover. Colombina/Nedda tries to resume the play, bu Canio threatens all the more. Even the audiencebegins to suspect that something over and above the play is going on. When Nedda remains stubbornly silent, Pagliaccio/Canio stabs her and kills her. Her cries for help, directed at Silvio, result in Canio turning to the youth who is hurrying to her side and he kills him as well. « La commedia è finita ». The play is over.