D: € 15.15 - US: $ 16.42 - UK: £ 13.36 *
MARCO ARMILIATO studied piano at the Paganini-Conservatoire in his hometown of Genova. In the 90s, he became intensely active in the big opera houses of the world. At the New York Met, he conducted Il trovatore, La Bohème, Stiffelio, Madama Butterfly, Sly, Aida, Turandot, La Fille du Régiment and Rigoletto, and at the San Francisco Opera La Bohème, Madama Butterfly, Turandot, La traviata, Tosca, Aida and Cavalleria rusticana. At the Wiener Staatsoper, where he made his debut in 1996 with Andrea Chénier, he has conducted among others, Il barbiere di Siviglia, La Bohème, Carmen, Cavalleria rusticana, Don Carlo, L’elisir d’amore, Falstaff, La forza del destino, Lucia di Lammermoor, Manon, Manon Lescaut, Pagliacci, Simon Boccanegra, Stiffelio, Tosca, La traviata, Turandot and Werther. He received further engagements at the opera houses of Barcelona, Madrid, Zurich, Toronto, Pittsburgh, Baltimore, Turin, Rome, at the Deutsche Opera Berlin, the Bavarian State Opera, at the ROH Covent Garden, at the Théâtre du Châtelet and Opéra Bastille in Paris, at the Hamburg State Opera and Verona. He is also internationally successful as a concert conductor.
Soprano singer IRINA LUNGU initially studied piano and choral conducting and later vocal arts and completed her studies in Russia in 2003. She is awardee of several important international competitions, for example the Tschakowski competition, the Operalia competition of Plácido Domingo, the Belvedere competition in Vienna and the Voce Verdiane competition. From 2003 to 2005, Irina Lungu was member of the Accademia del Teatro alla Scala in Milan. She has sung at opera houses among others such as La Scala in Milan (Nannetta, Adina, Violetta, Maria Stuarda, Marguerite), the Royal Opera House Covent Garden in London (Musetta), the Metropolitan Opera in New York (Gilda, Musetta), the Munich Opera (Liù), the Zurich Opera (Violetta), at the Arena di Verona (Micaëla, Juliette, Donna Anna), at the Deutsche Oper Berlin (Violetta), at La Fenice in Venice (Violetta), at the Teatro Real in Madrid (Violetta), in Muscat (Liù), in Aix-en-provence (Gilda), at the opera in Rome (Gilda) at the Opéra National de Paris (Gilda, Violetta), at the Staatsoper Hamburg (Violetta), at the Teatro Regio in Turin (Marguerite), and in Amsterdam (Marguerite). At the Wiener Staatsoper, she gave her debut in 2015 as Violetta.
The career of tenor Pavol Breslik began in 2005 when critics of the magazine "Opernwelt" elected him the “Newcomer of the Year”. The Slovakian artist, born in 1979, studied in Bratislava. In 2000 he won the first prize at the Antonín Dvorák competition. 2002/2003 he continued his education in the opera studio CNIPAL in Marseille and completed his studies in master classes of Yvonne Minton, Mady Mesplé, Mirella Freni and William Matteuzzi.
Between 2003 and 2006 he was a member of the Staatsoper Unter den Linden Berlin. He sang at the Théâtre de la Monnaie in Brussels, at the Vienna Festival, at the Festival in Aix-en-Provence, at the Théâtre du Châtelet, the Salzburg Festival, the New York Met, the London Royal Opera House Covent Garden, the Bayreuth State Opera. His repertoire includes Ferrando (Così fan tutte), Tamino (Zauberflöte), Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Kudrjáš (Katjá Kabanová), Belmonte (Die Entführung aus dem Serail), Lenski (Eugen Onegin) und Gennaro (Lucrezia Borgia).
He made his debut at the Vienna State Opera in 2010 as Nemorino and also sang Lenski and Don Ottavio.
KS PLÁCIDO DOMINGO is one of the most significant artists of the 20th century and has been the international benchmark of interpreting for decades. His vocal repertoire, which he extended to works such as Simon Boccanegra and Rigoletto, includes 134 different roles – a number which has not been reached by any other tenor so far. As a conductor, Plácido Domingo has directed over 450 operas and concert performances. Also as an Opera Director (Los Angeles Opera and Washington National Opera, he has made a name for himself. At the Wiener Staatsoper, where he is an honorary member, he gave his debut in 1967 (Don Carlo) on more than 220 evenings (34 times as the conductor). He has sang here among others Radames, Don José, Don Carlo, Gustaf III., Stiffelio, Otello, Canio,Rigoletto-Herzog, Cavaradossi, Manrico, Siegmund, Idomeneo, Lohengrin, Rodolfo, Dick Johnson, Hoffmann, Turiddu, Faust, Loris, Samson, Enzo Grimaldo, Parsifal, Hermann, and Simon Boccanegra. Aside from this, up until now Plácido Domingo has conducted performances from Aida, Carmen, Die Fledermaus, Macbeth, I puritani, Tosca, La traviata, Il trovatore, Nabucco, to Madama Butterfly in the House on the Ring.
Scene 1 Violetta Valéry, a radiant and well-to-do Parisian courtesan, who seems to have fully recovered from a serious illness, is giving a festive party attended by many prominent personages in high society. Gastone, one of her host of admirers, introduces Alfredo Germont, who has long worshipped her from afar. Alfredo sings a toast in praise of love, to which Violetta responds by extolling a life given over solely to pleasure. But as she bids her guests join in the dancing she is racked by a sudden spasm of coughing and giddiness. Alfredo avows his love, and though Violetta cannot at first bring herself to believe that he is in earnest she is deeply touched by his declaration. However, she makes it clear to him that she can only offer friendship, not love; and handing him a camellia she tells him that when it begins to droop he may come to her again. Left alone, she is assailed by misgivings about her past life: perhaps she is beginning to fall in love with Alfredo after all? Scene 2 Violetta and Alfredo have been living for the last three months in a country villa and are ecstatically happy. But through Violetta’s maid Annina, who has just returned from Paris, Alfredo learns that Violetta has been spending her savings on paying for their life at the villa. Alfredo thereupon decides to go to Paris to raise some money out of his own resources. Just as Violetta has opened a letter from her friend Flora inviting her to a ball a caller is announced: it is Alfredo’s father Giorgio, who accuses Violetta of living on his son. Violetta explains that on the contrary it is she who has spent all her savings that on Alfredo, and that it is for love of him that she has abandoned her former life. Giorgio Germont, who is a highly respected figure in society, then appeals to Violetta: his daughter’s happiness is at stake as her fiancé is threatening to break off the engagement because of her brother Alfredo’s scandalous association with a courtesan. Giorgio begs Violetta to salve the honour of his family by giving Alfredo up, but not to tell Alfredo of his father’s visit. Deeply distressed, Violetta consents and leaves a note for Alfredo saying that she has been unfaithful to him and is leaving. On his return from Paris Alfredo is stunned by Violetta’s abrupt departure, but refuses to obey his father’s command to return to the family home. Suddenly his eye falls on Flora's invitation, which confirms his suspicions: he resolves to go to the party himself and settle with Violetta. Scene 3 The guests at Flora’s party in costume and masked. Alfredo arrives and joins a group of cardplayers. Presently Violetta enters arm-in-arm with Baron Douphol, an old admirer of hers. Alfredo, who has enjoyed a run of luck with the cards, challenges his supposed rival to a game, but Violetta intervenes, fearing that it will come to a duel between the two men. True to her promise to Giorgio Germont not to reveal her real reason for leaving his son, Violetta tells Alfredo that she was really in love with Douphol all the time. Blind with rage, and in full view of Flora’s guests, Alfredo flings his winnings at Violetta’s feet as payment for her ”services“. Suddenly Giorgio Germont appears: full of remorse for having unfairly forced Violetta to conceal her love for his son, he expresses his disgust at his son’s behaviour. scene 4 Violetta is desperately ill, physically and mentally, and the doctor tells Annina that it can only be a matter of hours. Violetta rallies when a letter arrives from Alfredo’s father with the news that Alfredo has been told the truth about her having spent her savings on his behalf, and that following a duel in which the Baron was slightly wounded. Alfredo had to flee the country, but is now on his way back to implore her forgiveness. Alfredo arrives and embraces her passionately: in her ecstasy Violetta looks forward to a complete recovery. But only for a moment: she now realizes that she is at death’s door, and by the time Alfredo’s father arrives to embrace his son’s betrothed, it is too late.