D: € 15.15 - US: $ 16.51 - UK: £ 13.66 *
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 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, 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 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.
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).
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...