Mozart and Salieri, an opera in one act consisting of two scenes.
Nicolai Rimsky-Korsakov (1844-1908), composer. Libretto derived from Alexander Puskhin's play of the same name.
First performance: 7 December 1898 in Moscow.
Ariadne auf Naxos, Oper with a prologue and one act. Music composed by Richard Strauss. Libretto by Hugo von Hofmannsthal.
La Vestale, a tragédie lyrique in three acts.
Boris Godunov, an opera in four acts with prologue
Modest Mussorgsky, composer. Libretto by the composer, based on Alexander Pushkin's drama Boris Godunov and Nikolai Karamazin's History of the Russian Empire
First performance: 8 February 1874 at the Mariinsky Theatre, St. Petersburg
Il Trovatore, dramma in four parts.
Only a few months following the premiere of Der Rosenkavalier, Hugo von Hofmannsthal proposed a new opera to Richard Strauss based on Molière’s comedy-ballet, Le Bourgeois gentilhomme (in German, Der Bürger als Edelmann).
Die Entführung aus dem Serail, Singspiel in 3 Acts.
Music composed by Wolfgang Amadeus Mozart (1756–1791). Libretto by Johann Gottlieb Stephanie the Younger, based on an earlier libretto by
Christoph Friedrich Bretzner.
Die Entführung aus dem Serail, Singspiel in 3 Acts.
Music composed by Wolfgang Amadeus Mozart (1756–1791). Libretto by Johann Gottlieb Stephanie the Younger, based on an earlier libretto by
Christoph Friedrich Bretzner.
Arabella: Lyrische Komödie in three acts
Die Entführung aus dem Serail, Singspiel in 3 Acts.
Music composed by Wolfgang Amadeus Mozart (1756–1791). Libretto by Johann Gottlieb Stephanie the Younger, based on an earlier libretto by
Christoph Friedrich Bretzner.
La Gioconda, dramma lirico in four acts.
Music composed by Amilcare Ponchielli (1834–1886). Libretto by Arrigo Boito (under the pseudonym Tobia Gorrio), based upon Victor Hugo's Angelo, Tyrant of Padua (1835).
Don Carlo, an opera in four acts. Music composed by Giuseppe Verdi (1813–1901). Libretto by Joseph Méry and Camille Du Locle after Friedrich von Schiller’s dramatic poem Don Carlos, Infant von Spanien. Revised version in four acts (French text revised by Du Locle, Italian translation by Achille de Lauzières and Angelo Zanardini).
Un ballo in maschera, a melodramma in three acts.
Music composed by Giuseppe Verdi. Libretto by Antonio Somma, based upon the work of Eugène Scribe Gustave III ou Le bal masqué (1833)
Medea: Melodramma tragico in three acts.
Die Tote Stadt, an opera in three acts.
Music composed by Erich Wolfgang Korngold (1897-1957). Libretto by Paul Schott (Julius and E. W. Korngold) after the novel Bruges la morte by Georges Rodenbach.
Some Details concerning the Revolution inaugurated by Rossini
Manon Lescaut, dramma lirico in quattro atti
Elektra: Tragedy in one act.
Lyric Opera of Chicago has announced both schedules and cast-lists for is Spring 2020 performances of Richard Wagner’s Ring Cycle. Given the series of individual productions already staged by the company since Fall 2016, that pave the way for the complete cycle, Lyric Opera of Chicago’s complete production should affirm the artistic might of the great composer.
“Diacono himself does not know what musical talent he possesses” – Mascagni
Il Matrimonio Segreto, Melodramma giocoso in two acts.
Music composed by Domenico Cimarosa (1749-1801). Libretto by Giovanni Bertati after The Clandestine Marriage (1766) by George Colman the Elder and David Garrick.
Streaming Audio
First Performance: 7 February 1792 at Burgtheater, Vienna.
Principal Characters:
| Carolina, Geronimo's daughter | Soprano |
| Elisetta, her sister | Mezzo-Soprano |
| Paolino, young clerk to Geronimo | Tenor |
| Geronimo, a rich merchant | Bass |
| Fidalma, his sister | Contralto |
| Count Robinson | Bass |
Time and Place: 18th Century Bologna at Geronimo's home
Synopsis:
We are in the household of Geronimo, a wealthy citizen of Bologna; he has two daughters, Elisetta and Carolina, and a sister Fidalma, who runs the household. He also has a young secretary, Paolino, who is secretly married to the younger daughter, Carolina.
Act I
Paolino is working to arrange a marriage contract between Elisetta and his patron, Count Robinson, hoping that as soon as Geronimo's older daughter is well married, his marriage to the younger one will be acceptable. Count Robinson has written a letter expressing interest - tempted by Elisetta's substantial dowry - and Geronimo is thrilled to think that his daughter will be a Countess. Fidalma confesses to her niece that she is in love, too, but only reveals in an aside to the audience that she has her eye on Paolino.
When the Count arrives he is disappointed to find that it is not Carolina who has been offered to him. He tells Paolino that he will be content with a smaller dowry and sends him off to arrange the match. Carolina doesn't dare tell the count that she is married, so when she admits she has no lover it excites him further; she tries to convince him she has no desire or qualification to be a countess, but he continues to pursue her. Elisetta accuses them both of betraying her, and the commotion attracts Fidalma who joins Carolina in trying to calm Elisetta; everyone tries at once to explain his or her feelings to the confused and exasperated Geronimo.
Act II
Geronimo insists that the Count must honor his contract and marry Elisetta, but the Count refuses. When he offers to accept a smaller dowry with Carolina's hand instead, Geronimo is delighted to save face and money - as long as Elisetta agrees.
Paolino is distraught, and throws himself on Fidalma's mercy, but is stunned to find that she hopes to marry him; he faints, giving her the idea that she returns his emotion and making Carolina think she has been betrayed, but he promises that they will leave the house at dawn and take refuge in the house of a relative.
The Count tells Elisetta all his bad habits and physical defects, hoping she'll reject him, but she stands firm - and he finally confesses that he cannot abide her. Geronimo can't persuade her either. Fidalma suggests sending Carolina to a convent, and Geronimo agrees. Carolina is broken-hearted and tries to confess her predicament to the Count, but they are interrupted by her sister, her aunt and her father who are gleeful at having caught them together, and Geronimo sends Paolino off with a letter to the Mother Superior.
After a brilliant and farcical finale Paolino and Carolina finally confess they have been married for two months; Geronimo and Fidalma are furious, but the Count and Elisetta advise them to forgive the newlyweds, adding that they themselves will marry after all.
[Synopsis Source: Opera Theatre of St. Louis]