Monday, 22. March 2021
08:15 pm – 09:30 pm

Duration est. 1 hours 15 minutes

free of charge

Premiere at 22. March 2021

This performance will be broadcasted live via the internet as part of Staatsoper.TV.

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Antonino Fogliani
Marcus H. Rosenmüller
Costume Design
Claudia Gall
Prop Design
Christian Blank

Misha Kiria
Emily Pogorelc
Bruschino; padre
Paolo Bordogna
Bruschino, figlio
Andres Agudelo
Josh Lovell
Un delegato di Polizia
Andrew Hamilton
Edwin Crossley-Mercer
Eliza Boom
  • Bayerisches Staatsorchester
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Gioachino Rossini
Il signor Bruschino ossia Il figlio per azzardo
Farsa giocosa per musica in un atto di Giuseppe Foppa

It's always the same thing: two elderly gentlemen agree to marry their children without considering it necessary to ask the young people for their opinion beforehand. Usually a fatal undertaking, as in Gioachino Rossini's Il Signor Bruschino. Sofia does not want to be married to Mr. Bruschino's son; but Florville, who she is in love with. Her guardian Gaudenzio, however, considers Florville's father as his enemy and would never agree to this relationship. When Florville's father dies, however, his son hopes that it this will change the situation for the better and bury the old feud. In the meantime, Gaudenzio has unfortunately already promised his daughter Sofia to Bruschino's son. The intended groom ends up accumulating so many debts at the local bar that the innkeeper locks him up in a room. Consequently, Florville pretends to be his own rival, whilst he is locked up and wants to trick the old gentleman this way.
In his early opera Il Signor Bruschino, composed in 1813 for the Teatro San Moisè in Venice, Rossini plays with types of commedia dell'arte and writes an amusing piece about the creative handling of reality and the search of young people for their place in the world. Or, as Gaudenzio puts it: "In the great world theater, everyone is looking for his happiness. And no matter how well he may be doing, man is never satisfied. So let us be joyful and enjoy what is coming. And may our hearts shine with joy and pleasure."

Marcus H. Rosenmüller, a well-known Munich director of feature films, television documentaries and the so-called "Nockherberg Singspiel", staged an opera for the first time at the Bayerische Staatsoper in 2015, Le Comte Ory with the Opernstudio, and is working on his second musical theater production with a captivating bel canto vocal ensemble in Montagsstück XVIII. Musical direction is by Rossini connoisseur Antonino Fogliani. Singers include Emily Pogorelc (Sofia), Andres Agudelo (Bruschino figlio), Josh Lovell (Florville), and Edwin Crossley-Mercer (Filiberto).


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Antonino Fogliani schloss sein Dirigierstudium am Giuseppe-Verdi-Konservatorium in Mailand ab und intensivierte es an der Musikakademie in Siena. 2001 gab er sein Debüt beim Rossini Opera Festival in Pesaro mit Il viaggio a Reims. Dirigate führten ihn u. a. an das Teatro alla Scala in Mailand, das Teatro dell’Opera in Rom, das Teatro la Fenice in Venedig, das Gran Teatro del Liceu in Barcelona, die Oper Zürich, die Semperoper Dresden sowie an die Theater in St. Gallen, Verona, Parma, Bergamo und Oslo. 2011 wurde er zum Musikdirektor des Wildbad-Festivals ernannt. Als Konzertdirigent war er u. a. mit dem Orchestra Nazionale dell’Accademia di Santa Cecilia, dem Orchestre Philharmonique de Monte-Carlo sowie dem Gürzenich-Orchester Köln zu erleben. Seit der Spielzeit 2017/18 ist er als Erster Gastdirigent an der Deutschen Oper am Rhein engagiert. (Stand: 2021)

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