Conductor
Moritz Gnann
Director
André Heller-Lopes
Set Design
Rita Álvares Pereira, André
Heller-LopesChoreography
Verena
HierholzerVideo
André
GodinhoCostume Design
Rita
Álvares Pereira
Lighting
Pedro Martins
L'OCCASIONE FA IL LADRO
GIOACHINO
ROSSINI (1792-1868)
Opera (Burletta
per Musica) in one act
Libretto by Luigi Prividali based on the play Le prétendu par hazard or L’occasion fait le larron, by
Eugène Scribe.
Premiere at San Moisè Theater, Veneza on the 24th of November
1812.
TROUBLE IN TAHITI
LEONARD BERNSTEIN
(1920-1989)
Opera in one act.
Libretto by Leonard Bernstein.
Premiere on 12th of June of 1952 at Brandeis University in Waltham, Massachusetts.
New Production
TNSC
YOUNG INTERPRETERS PROGRAM
Duration: 2 hours
L' OCCASIONE FA IL LADRO
Produced in1812 in the beginning of Rossini's career, L'Occasione Fa il Ladro, Ossia il Cambio della Valigia, is a Farse in one act – a fashionable comic sub-genre that took place in the little theaters of Venice during the eighteenth and early nineteenth century - the ideal way to the first operatic incursions of the youngest composers since it is a less risky model than the demanding and serious opera. The debut of Rossini in this operatic genre had occurred two years before precisely with a Farse in the same theater that would have L'Occasione Fa il Ladro, the San Moisè of Venice. In this work the italian lyric tradition is evident as well as the core of what would be the Rossinian style. The libretto is based on a vaudeville
comedy from 1810 by the young playwright Eugène Scribe. The surprising contemporaneity between the text and the operatic production clearly shows the influence of the french dramatic genre in Italy.
Text,
Tiago Cutileiro and Marta Navarro
TROUBLE
IN TAHITI
Trouble in
Tahiti is one of the first scenic operas by Leonard Bernstein and the first one called opera. It's about a painfull picture of the north-american suburban middle class of the fifties. Without having a real story it portraits the married life marked by the decadence of affections and the impossibility of its recovery. In this piece the composer searched for a new operatic model without recitations and built under the vernacular english. In 1984,Bernstein
would incorporate the last act of Trouble
in Tahiti in his opera A Quiet
Place.
With an unusual versatility that brought him from the piano interpretation to the conducting, from composition to musical revelation, Bernstein managed to benefit from the new technologies towards diffusion and
popularization of the so called classical music, becoming undoubtedly one of the most well known musicians of the western musical history.
Text, Tiago Cutileiro and Marta Navarro