SCHULVORSTELLUNG: L'INFEDELTÀ DELUSA

Joseph Haydn wrote his opera buffa in 1773 for the rural idyll of his patron Prince Esterházy. Situational comedy and the art of musical characterization distinguish Haydn's music-theatrical language. Although he achieved fame as a composer of symphonies and chamber music of the classical period, with this opera he succeeded in creating a subtle chamber opera about the depths and shallows of human love.

French opera and film director Marie-Eve Signeyrole makes her debut at the Bavarian State Opera with this production of Haydn's L'Infedeltà delusa. She first made a name for herself as a film director, including 2009's feature film Alice au pays s'émerveille, shot in Serbia and starring Emir Kusturica. At the same time, she pursued a career in theater. In 2012, she brought Janáček's The Cunning Little Vixen, her first opera production, to the stage of the Montpellier Opera House. Her German debut came in 2019 with her production of La damnation de Faust at the Staatsoper Hannover, which was nominated for the FAUST Prize. Most recently, she staged the German premiere of Frédégonde at Oper Dortmund, Turandot at Semperoper Dresden, and Camille Saint-Saëns' Samson et Dalila for Opéra national du Rhin. Since 2012, she has collaborated with set designer Fabien Teigné. Joint projects have included The Cunning Little Vixen and Eugene Onegin at the Opéra National de Montpellier and La damnation de Faust at the Staatsoper Hannover. This is Marie-Eve Signeyrole's first collaboration with conductor Giedrė Šlekytė. With Haydn's L'Infedeltà delusa, Giedrė Šlekytė also makes her debut in Munich. The internationally sought-after conductor was First Kapellmeister at the Stadttheater Klagenfurt from 2016 to 2018 and has since stood at the podiums of numerous opera houses and concert halls, including the opera houses in Leipzig, Zurich, Stuttgart or Antwerp and the Salzburg Festival.

Sandrina loves Nanni. Nencio loves Vespina. But Nencio wants to try it with Sandrina, and her father Felippo supports him - after all, fathers know what's best for their daughters. But Nanni and Sandrina want to decide for themselves who they love. In Haydn's work, the father-daughter conflict is also a social one, which comically addresses the social role models of men and women. French director Marie-Eve Signeyrole turns it into a serious play about the longings of young lovers - and about equal rights for young women in a male-dominated social environment.