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
![The Rozenhoedkaai [nl] (canal) in Bruges with the belfry in the background [Source: Wikipedia]](http://www.operatoday.com/Rozenhoedkaai_Brugge.png)
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.
Streaming Audio
First Performance: 4 December 1920 at Hamburg and Köln.
| Principal Characters: | |
| Paul | Tenor |
| Ghost of Marie, his deceased wife | Soprano |
| Marietta, a dancer | Soprano |
| Frank, Paul's friend | Baritone |
| Brigitte, Paul's housekeeper | Mezzo-Soprano |
| Fritz an actor | Baritone |
| Juliette, a dancer | Soprano |
| Lucienne, a dancer | Soprano |
| Gaston, a dancer | Tenor |
| Victorin, the director | Tenor |
| Count Albert | Tenor |
Synopsis:
Act I
Since his wife's death, Paul has saved a braid of her hair, her scarf and her lute as mementos. She lives only in his memory. Paul's housekeeper, Brigitta, declares that his friend, Frank, has returned to Brügge after a long absence. He tells Paul that has met a young woman who closely resembles the dead Marie. Frank warns him to let the dead rest in peace, but Paul dreams of her return. He has Brigitta procure red roses.
The young lady, Marietta, arrives. She is a dancer on tour. Paul gives her the roses and then gives her Marie’s scarf and lute. Marietta sings a song that Marie always sang. Marietta uncovers Marie’s portrait and notes the striking similarity with her. She must leave to attend a rehearsal of Meyerbeer’s Robert le Diable, in which she plays Hélène. She urges him to join her at the theater; but, he stays behind. The apparition of Marie appears from the portrait and transforms into the dancing figure of Marietta.
Act II
Paul and Frank meet outside Marietta’s house. Brigitta has left Paul’s service. Frank has the key to Marietta’s apartment. Paul wrestles the key from him. Marietta’s troupe arrives. They begin to rehearse the resurrection scene from Robert le Diable, with Marietta as the risen Hélène. Paul interrupts, humiliating Marietta. Nevertheless, Marietta wishes to win over Paul. She goes with him to his house. There she will battle with the ghost of Marie.
Act III
The next morning, Marietta stands before Marie’s portrait, triumphant. She challenges the dead woman. Paul’s conscience is in turmoil, which only increases as a holy procession passes by the window. Marietta mocks Paul because of his piety. She takes the braid of hair. Paul snatches it away from her and strangles Marietta with Marie's hair. Now dead, Marietta resembles Marie completely.
Paul awakens. Brigitta reports that Marietta has forgotten her roses and umbrella. After Marietta leaves, Frank invites Paul to accompany him on a trip to get away from the city of the death. Paul, who determines that a reunion with the dead is not possible in this life, follows him.