Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Mihály Kálmándy
Amelia: Eszter Sümegi / Szilvia Rálik
Ulrica: Andrea Ulbrich
Oscar: Zita Szemere
Count Horn: Krisztián Cser
Count Ribbing: István Kovács
Christiano: Máté Fülep
Judge / Amelia’s servant: Lőrinc Kósa

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Mihály Kálmándy
Amelia: Eszter Sümegi / Szilvia Rálik
Ulrica: Andrea Ulbrich
Oscar: Zita Szemere
Count Horn: Krisztián Cser
Count Ribbing: István Kovács
Christiano: Máté Fülep
Judge / Amelia’s servant: Lőrinc Kósa

 

 

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Mihály Kálmándy
Amelia: Eszter Sümegi / Szilvia Rálik
Ulrica: Andrea Ulbrich
Oscar: Zita Szemere
Count Horn: Krisztián Cser
Count Ribbing: István Kovács
Christiano: Máté Fülep
Judge / Amelia’s servant: Lőrinc Kósa

 

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Mihály Kálmándy
Amelia: Eszter Sümegi
Ulrica: Andrea Ulbrich
Oscar: Zita Szemere
Count Horn: Krisztián Cser
Count Ribbing: István Kovács
Christiano: Máté Fülep
Judge / Amelia’s servant: Lőrinc Kósa

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Francesco Lanzillotta
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Anatolij Fokanov
Amelia: Eszter Sümegi
Ulrica: Bernadett Fodor
Oscar: Zita Szemere
Count Horn: András Kiss
Count Ribbing: István Kovács
Christiano: Attila Erdős
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Francesco Lanzillotta
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Alberto Gazale
Amelia: Eszter Sümegi
Ulrica: Bernadett Fodor
Oscar: Zita Szemere
Count Horn: András Kiss
Count Ribbing: István Kovács
Christiano: Attila Erdős
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Francesco Lanzillotta
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Alberto Gazale
Amelia: Eszter Sümegi
Ulrica: Bernadett Fodor
Oscar: Zita Szemere
Count Horn: András Kiss
Count Ribbing: István Kovács
Christiano: Attila Erdős
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Francesco Lanzillotta
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Anatolij Fokanov
Amelia: Eszter Sümegi
Ulrica: Bernadett Fodor
Oscar: Zita Szemere
Count Horn: András Kiss
Count Ribbing: István Kovács
Christiano: Attila Erdős
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Michelangelo Mazza
Gustavo, king of Sweden: Mykhailo Malafii
Renato Anckarström: Michele Kalmandy
Amelia: Adrienn Miksch
Ulrica: Bernadett Wiedemann
Oscar: Helga Nánási
Count Horn: Géza Gábor
Count Ribbing: István Kovács
Christiano: Máté Fülep
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki

Opera in three acts, in Italian, with Hungarian and English surtitles

 

The subject of this work sparked Verdi’s fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story’s background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera will be presented as part of the Opera’s repertoire – in accordance with the composer’s original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.

 

Conductor: Carlo Montanaro
Gustavo, king of Sweden: Boldizsár László
Renato Anckarström: Levente Molnár
Amelia: Szilvia Rálik
Ulrica: Andrea Ulbrich
Oscar: Zita Szemere
Count Horn: Krisztián Cser
Count Ribbing: István Kovács
Christiano: Máté Fülep
Judge / Amelia’s servant: Sándor Egri
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian surtitles: Eszter Orbán
English surtitles: Arthur Roger Crane
Chorus director: Gábor Csiki