D: € 15.15 - US: $ 15.77 - UK: £ 13.73 *
ROBERTO FRONTAL is among the leading baritones of his generation. In the course of his career he has sung numerous roles ranging from Bellini, Donizetti and Rossini to the main roles in the Verdi operas Don Carlo, Falstaff, Ernani, Il trovatore, Simon Boccanegra, Un ballo in maschera, Luisa Miller, Attila, Rigoletto and I vespri siciliani. Recently Roberto Frontali has appeared in operas such as Eugen Onegin, Andrea Chénier, Fanciulla del West, Adriana Lecouvreur, Cavalleria rusticana, Pagliacci, Falstaff, Stiffelio, Il tabarro and Gianni Schicchi. Performances regularly lead him to the New York Metropolitan Opera, La Scala in Milan, the Rossini festival in Pesaro, the ROH Covent Garden, the Teatro La Fenice in Venice, to Tokyo, Rome, Geneva, Dresden, San Francisco, Moscow, Buenos Aires. Roberto Frontali made his debut at the Wiener Staatsoper in 1992 as Figaro (Il barbiere di Siviglia) and has since sung roles such as Enrico (Lucia di Lammermoor), Belcore (L’elisir d’amor), Posa (Don Carlo), Sir Riccardo Forth (I puritani), Nottingham (Roberto Devereux) and Giorgio Germont (La traviata) here.
The mezzo-soprano Monika Bohinec studied at the Mozarteum in Salzburg and at the University for Music and Performing Arts in Vienna. As a student, she was a finalist and award winner of different competitions and a scholarship holder of the Richard Wagner Foundation and the Hilde Zadek Foundation.
In 2006, she made her debut as Clarissa in Die Liebe zu den drei Orangen at the Slovenian State Opera, where she appeared as Jezibaba in Rusalka, Konchakowna (Fürst Igor), Suzuki in Madama Butterfly and in the title role of Carmen.
In 2009 Monika Bohinec became ensemble member of the Mannheim National Theatre, where she sang Carmen, Sara di Nottingham (Roberto Devereux), Laura and Cieca (La Gioconda), Maddalena (Rigoletto), Giulietta (Les Contes d’Hoffmann) and Ulrica (Un ballo in maschera).
In the season 2011/2012 Monika Bohinec became ensemble member of the Vienna State Opera where she sang e.g. Larina, Grimgerde, Marthe, Farzana, Schenkenwirtin, Lola, Mary, Marcellina, Fenena, Ulrica, Suzuki, Margret, Madelon and Erste Norn.
KS Ildiko Raimondi was born in Arad, Rumania, where she began her music education and completed her vocal studies in Italy with Flaviano Labo and Carlo Bergonzi. She has performed in Dresden, Munich, Berlin, Valencia, Zurich, Helsinki as well as at Festivals in Salzburg, Edinburgh, Ludwigsburg, Bregenz and the Wiener Festwochen. Since 1991 she is member of the ensemble of the Wiener Staatsoper. She made her debut here in November 1991 as Sophie (Rosenkavalier). After that she performed as Marzelline (Fidelio), Zdenka (Arabella), Pamina (Zauberflöte), Antonia (Contes d’Hoffmann), Micaela (Carmen), Susanna (Nozze di Figaro), Adele and Rosalinde (Fledermaus), Hanna Glawari (Lustige Witwe), Nedda (Pagliacci), Lauretta (Gianni Schicchi), Mimi and Musetta (Bohème), Alice (Falstaff), Dame (Cardillac), Donna Elvira (Don Giovanni). She performed in the gala concert celebrating the 50th anniversary of the reopening of the Wiener Staatsoper, as well as at guest appearances in Asia (2007), Japan (2008), Garmisch-Partenkirchen (2009). In 2004 she became Österreichische Kammersängerin.
Roles at Wiener Staatsoper 2014/2015: for example Rosalinde, 3. Norn, Gerhilde.
Long ago, the previous Spanish Count di Luna had an old woman burned at the stake because he believed she was responsible for bewitching his younger son, little García. Out of revenge, Azucena, the old woman’s daughter, abducted García. Shortly thereafter, the charred skeleton of a child was found. The old count refused to believe that García was dead and, shortly before he died, made his older son swear never to give up looking for his missing brother. Fifteen years later, civil war was raging in Spain, and the remaining older son – now Count di Luna – had become a soldier. The troubadour Manrico, who believes himself to be Azucena’s son, is fighting for the other side. Manrico and di Luna also find themselves confronting each other in the field of love: both are in love with the lady-in-waiting Leonora, who for her part loves Manrico. One night Leonora hears Manrico singing close by in the palace garden; she runs to meet him. Confused by the dark, she throws herself into the arms of the man whom she recognizes too late as Count di Luna. Thus he finds out that Leonora is in love with Manrico. Manrico also comes running, whereupon di Luna challenges him to duel. Di Luna is defeated, but Manrico spares his life. Sometime later, Manrico is present when Azucena experiences a vision in which she once again lives through the terrible death of her mother at the stake. Half out of her mind, Azucena admits that she vengefully thrust a child into the flames – but through a terrible mistake she burned her own child and not the abducted child. She is however able to allay Manrico’s mounting doubts: he is her son. When Leonora receives the false report that Manrico was defeated in the duel, she determines to enter a convent. To prevent her from doing so, di Luna plans to kidnap her. However he is stopped by Manrico, who takes the opportunity to flee with Leonora to Castellor castle, of which he has been appointed commander. When Azucena tries to make her way to Manrico, she is captured by di Luna’s followers. Manrico sets out to free her, but also falls into the hands of his enemy. In despair, Leonora offers herself to di Luna if he will pardon Manrico. Di Luna happily accepts this proposition, little knowing that Leonora has taken poison to avoid having to spend her life with the Count, whom she does not love. She manages to inform her beloved Manrico about his pardon before dying in his arms. Furious, di Luna orders that Manrico be executed. The execution has scarcely taken place when Azucena spits the words at him: “That was your brother.”