Die Fledermaus or The Bat
Music by Johann Strauss II
Operetta in three acts
Libretto by Carl Haffner and Richard Genée
Gabriel von Eisenstein Mert Süngü
Rosalinde Mihaela Marcu
Frank Nicolò Ceriani
Prince Orlofsky Miriam Albano
Alfred Francesco Castoro
Dr. Falke Birger Radde
Dr. Blind Salvatore Grigoli
Adele Sara Fanin
Ida Francesca Micarelli
Frosch Vito
Actors
Riccardo Dell’Era, Filippo Ferretti, Daniele Giuliani, Daniele Palumbo
Dancers
Students of the BSMT Musical Academy of Bologna
Conductor Sasha Yanchevych
Director Cesare Lievi
Chorus Master Gea Garatti Ansini
Sets and Costumes Luigi Perego
Lighting Luigi Saccomandi
Choreography Irina Kashkova
Assistant Director Mirko Rizzi
Assistant Choreographer Daniele Palumbo
Orchestra, Chorus, and Technicians of the Teatro Comunale di Bologna
NEW PRODUCTION
Teatro Comunale di Bologna with Teatro Carlo Felice di Genova
In collaboration with The Bernstein School of Musical Theater of Bologna
The new world premiere production of Giacomo Puccini’s Triptych, in the vision of director Pier Francesco Maestrini and the interpretation of conductor Roberto Abbado, metaphorically refers to Dante Alighieri’s Divine Comedy.
The director’s idea of juxtaposing Puccini’s three one-act operas with the three canticles of the Divine Comedy – Inferno, Purgatorio, Paradiso – stems from one of the composer’s earliest projects for his Triptych, later abandoned, maintaining a direct Dantean reference only in Gianni Schicchi. However, according to Maestrini, “this idea remains with the damned souls in Il Tabarro, with the souls awaiting redemption in Suor Angelica, with the stroke of genius of the ‘paradisiacal’ Schicchi. It is no coincidence,” explains the director, “if a good part of the third title composing the trilogy is written in hendecasyllables, or when Suor Angelica appears and sings ‘Desires are the flowers of the living, they do not bloom in the realm of the dead…’ it refers to the prayer of Saint Benedict in Paradise.”
Among the visual references in the production – with sets by Nicolás Boni, costumes by Stefania Scaraggi, and lighting by Daniele Naldi – stands out the one to Gustave Doré’s illustrations for the Divine Comedy “which, moreover,” continues Maestrini, “have influenced so much cinema, including that Beyond Dreams which I would say is my main reference for this Triptych.”
EXTRA
LIVE FROM.
TEATRO COMUNALE DI BOLOGNA
Built to host Italian melodrama, the Teatro Comunale carries with it not only its own history but also the entire history of the city that hosts it, in the place where the splendid Palazzo dei Bentivoglio was once admired. From the beginning, the Comunale established itself as the major theater of a city that, from the late 17th century until the triumph of Casa Ricordi and industrial publishing, played the role of the capital of the Italian opera production system. The theater has dominated, from its inception, the fabric of a city that was home to an impressive number of agents, impresarios, singers, dancers, instrumentalists, designers, and scene and costume renters, as well as the influential Accademia Filarmonica, which, among others, graduated a fourteen-year-old Wolfgang Amadeus Mozart under the guidance of Padre Martini.
