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Melodramma tragico in four acts (1847)

Composer Giuseppe Verdi · Libretto by Andrea Maffei after Friedrich Schiller's play „Die Räuber“
In Italian with German and English surtitles | New Production

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Cast for all dates

Musikalische Leitung
Michele Mariotti
Inszenierung
Johannes Erath
Bühne und Kostüme
Kaspar Glarner
Licht
Olaf Freese
Bühnenbild Assistenz
Dorota Karolczak
Chor
Stellario Fagone
Dramaturgie
Malte Krasting

Massimiliano
Mika Kares
Carlo
Charles Castronovo
Francesco
Igor Golovatenko
Amalia
Diana Damrau (03-08-2020, 03-11-2020, 03-14-2020, 03-18-2020, 03-22-2020, 03-26-2020, 07-01-2020, 07-04-2020) , Carmen Giannattasio (03-29-2020)
Arminio
Kevin Conners
Moser
Callum Thorpe
Rolla
Dean Power
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper
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A famous Verdi piece that hardly anyone knows. A plot bursting under high-pressure from the very beginning. A work, incandescent with love and hate, about people searching for a valve to release their passion, with arias that can scarcely be controlled with their emotional abundance. A German story as an Italian opera: Verdi wrote I masnadieri for a libretto based on Friedrich Schiller’s The Robbers. Karl and Franz become Carlo and Francesco; instead of combating social grievances as in the play, in the opera all the characters struggle to keep up with a family story that is laden with early loss and brotherly rivalry, with suppressed desire and misunderstood needs. Slander, blackmail and knife fights become the stuff of the confrontation. The political conflict of The Robbers is intensified on the personal level in Verdi’s opera. It’s not the age that appears to be decrepit, it’s the people. As a commissioned work by Her Majesty’s Theatre in London, I masnadieri was the first opera that Verdi wrote for a theatre outside of Italy, a work during the upheaval at the end of his “galley years”. In his Macbeth created almost in parallel the fissures are already breaking open; in I masnadieri the subterranean fault lines are just about to explode – a tension that is expressed with every beat of the music, in the solos just as much as in the famous robber choirs. Johannes Erath, who had already staged Un ballo in maschera in Munich with an interpretation that profoundly explores the characters, stages this opera as a chamber play of overflowing dimensions.

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Biographies

Michele Mariotti, geboren in Pesaro, studierte Komposition am Rossini Konservatorium in seiner Heimatstadt und machte zusätzlich einen Abschluss als Dirigent an der Accademia Musicale Pescarese. Sein Operndebüt gab er mit Il barbiere di Siviglia in Salerno. Von 2008 bis 2014 war er Chefdirigent des Orchestra del Teatro Comunale in Bologna und seit 2014 ist er als Generalmusikdirektor des Hauses in Bologna engagiert. Darüber hinaus führte ihn sein Wirken u. a. an das Teatro alla Scala in Mailand, das Teatro Reggio Parma, die Metropolitan Opera in New York, das Royal Opera House Covent Garden in London, die Opéra national de Paris und die Deutsche Oper Berlin. Er dirigierte u. a. das Gewandhausorchester Leipzig, das Orchestre National de France, die Münchner Symphoniker und das Italienische Radio-Symphonieorchester Turin. (Stand: 2016)

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