Melodramma in three acts - 1859

Composer Giuseppe Verdi · Libretto by Antonio Somma
In Italian with English and German surtitles | New Production

Wednesday, 22. June 2022
07:00 pm – 09:55 pm

Duration est. 2 hours 55 minutes · 1. Akt (est. 07:00 pm - 08:00 pm ) · Interval (est. 08:00 pm - 08:30 pm ) · 2. + 3. Akt (est. 08:30 pm - 09:55 pm )

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Prices L , € 163 / 142 / 117 / 91 / 64 / 39 / 15 / 11

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Premiere at 06. March 2016


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Dates & Tickets

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Daniele Rustioni
Johannes Erath
Set Design
Heike Scheele
Costume Design
Gesine Völlm
Lea Heutelbeck
Joachim Klein
Malte Krasting
Stellario Fagone

Piotr Beczala
Carlos Alvarez
Sondra Radvanovsky
Judit Kutasi
Deanna Breiwick
Andrew Hamilton
Andrew Harris
Bálint Szabó
Oberster Richter
Ulrich Reß
Diener Amelias
Granit Musliu
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper

Cast for all dates

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A governor, his friend, the friend's wife. A love triangle straight out of a romance novel. The soprano between the tenor and the baritone. But, in Verdi's Ballo in maschera all the protagonists are two-faced. Riccardo, the governor, is lauded as a just sovereign, yet shirks responsibility and seeks refuge from tedium in all manner of distractions - the ultimate kick for a man such as he can only be to risk his own life. 

Renato loves his friend Riccardo almost more than his wife; and she, Amelia, wants not only to eradicate all feelings for Riccardo, but, if possible, even more. Ulrica, the fortune teller, is the shadowy influence who evokes in people an irresistible pull towards death - until the culmination of the dance on the volcano in a deadly masked ball. Composed in 1858 for Naples, the opera was not allowed to be performed there for reasons of censorship. After radical editing, the premiere finally took place in Rome and to this day remains one of the most performed, but also most mysterious of Verdi's works.


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First act 

A room at Riccardo's house

While the governor Riccardo is asleep, he is being expected by numerous petitioners wishing him peace and quiet and assuring him of their loyalty. Samuel, Tom and their followers who have conspired against Riccardo and are seeking revenge secretly mingle amongst the crowd. Riccardo promises to be responsive to all the justified pleas but his attention is quickly distracted by the guest list of his upcoming ball. He notices the name of Amelia on that list. The mere thought of seeing her again makes him dream. His friend and most trusted advisor Renato, who is also Amelia's husband, is unaware of these thoughts. Renato warns Riccardo of a threatening attack and reminds him of his duties. Riccardo is not willing to be protected and therefore ignores the threat. The highest judge wants to banish the fortuneteller Ulrica. Oscar, Riccardo's page, defends Ulrica and emphasizes how all her prophecies have turned out to be true. Deciding to see for himself, Riccardo persuades everyone to pay Ulrica a visit in disguise at exactly three o'clock.

At the hut of the fortuneteller

Ulrica invokes prophetic spirits from whom nothing can be hidden. Riccardo – disguised as a fisherman –manages to mingle amongst the visitors at Ulrica's without being noticed. Ulrica promises a soldier named Silvano that he will soon become wealthy and receive a promotion. Riccardo makes the fortune of Silvano come true by slipping money and a note into his pocket. As Ulrica sends all her visitors away to admit Amelia, Riccardo secretly stays to eavesdrop on their conversation. Amelia begs for help as she is being tormented by her adulterous feelings for another man. She wishes to have a peaceful heart. Ulrica explains that the only way of finding peace, is by gathering by the gallows at midnight. Riccardo decides to follow Amelia. As the followers of Riccardo, including the judge and Oscar, but also Samuel and Tom arrive at Ulrica's place, Riccardo continues to play his role as a fisherman. He asks Ulrica to have his fortune told. She sees a powerful person in him by reading his palm. She predicts his soon-to-be and violent death by the hand of a friend. It will be the next person who shakes his hand. Riccardo appears unimpressed and makes fun of Ulrica's prediction. He offers his hand to all those present, but nobody dares to take it. At this moment Renato arrives unaware of the prophecy and clasps Riccardo's hand in greeting, thereby revealing the governor's identity. Riccardo thinks himself safe because Renato is his closest friend. He is hailed by his followers.

Second act

A lonesome field in the surroundings of Boston

Amelia arrives at the gallows. Although she is intimidated by the scary landscape, she is determined to find the remedy which Ulrica had told her about, even if this means killing off all her feelings. Riccardo who had followed her makes her confess her love to him. In exuberance Riccardo suppresses his friendship to Renato. Amelia on the other hand is torn between obligation and desire and wants to die. Unexpectedly Renato appears to warn the governor of the conspirators, who are secretly following Riccardo. Amelia covers herself with a veil before her husband can catch sight of her. Renato and Riccardo exchange their coats so the governor is able to remain unrecognized. Riccardo fleas, making Renato promise to take the veiled woman safely back to town and not asking her identity. Renato and Amelia fall into the hands of the conspirators, who are surprised to see Renato instead of Riccardo. They want to know who the veiled woman is. Renato takes up arms in order to protect her. Amelia interferes by dropping her veil. Renato has to face the fact that his friend's secret lover is nobody else than his own wife Amelia. He is exposed to ridicule. He asks Samuel and Tom to meet him the very next day.

Third act

Study at Renato's house

Renato is in disbelief of the protestations of innocence of his wife and is determined to kill her. She asks to see their son before she dies. He grants her wish. After Amelia leaves, he comes to the conclusion that it is Riccardo who should be punished with death and not his wife. He lets Samuel and Tom know that he will join the conspirators. The pledge for his honesty shall be his own son. They decide to draw lots to determine who will kill Riccardo. Renato forces Amelia to choose from the slips of paper. His own name comes up. Oscar brings the invitation to the masked ball. Renato deems this celebration to be suitable for the attack and agrees on a sign with Samuel and Tom. Amelia suspects what the three men are plotting and intends to warn Riccardo.

A cabinet at Riccardo's house

Riccardo believes Amelia is safe. He decides to renounce his love to Amelia and to send Renato and his family into another country. Oscar hands him over an anonymous letter in which Riccardo is warned about an attack on the very same evening. Riccardo does not want to be called a coward and plans to attend the ball anyway. There, he wants to say goodbye to Amelia forever.

A ballroom

At the ball Renato learns from Oscar what costume Riccardo is wearing. Amelia recognizes him in his disguise and warns him again. Riccardo still ignores the warning. He explains his decision and bids her a last farewell. At the very same moment Renato fires a shot at Riccardo. With his last breath Riccardo assures his friend Renato that Amelia is innocent as she never broke her marriages vows, and forgives everyone.

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Daniele Rustioni studierte in Mailand Orgel, Komposition und Klavier sowie Dirigieren bei Gilberto Serembe. Anschließend setzte er sein Studium in Siena und an der Royal Academy of Music in London fort. Von 2008 bis 2009 war er Jette Parker Young Artist am Royal Opera House Covent Garden in London und assistierte dem dortigen Musikdirektor Antonio Pappano. Sein Debüt absolvierte er 2007 mit dem Orchester des Teatro Regio di Torino, weitere wichtige Debüts folgten 2011 mit Aida am Royal Opera House Covent Garden in London und 2012 mit La bohème am Teatro alla Scala in Mailand. Dort dirigierte er anschließend auch Un ballo in maschera und Il trovatore. Gastengagements führten ihn u. a. ans Teatro La Fenice in Venedig, zum Maggio Musicale Fiorentino, zum Rossini Opera Festival, an die Welsh National Opera, an die Staatsoper im Schiller Theater in Berlin, an die Opéra national de Paris und ans Staatstheater Stuttgart. Von 2012 bis 2014 war er musikalischer Direktor des Teatro Petruzzelli in Bari. Zur Zeit ist er Chefdirigent des Orchestra della Toscana. (Stand: 2017)

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