San Carlo Theatre, Naples - La Traviata

All About Verdi's Operas

Who has not heard Brindisi the drinking song and Sempre libera (Always Free) from La Traviata? In this exciting education project, students will  be offered a comprehensive experience in learning about 19th century operas by renowned Italian Romantic composer Giuseppe Verdi through a series of activities conducted by both local and overseas artists, and attending performances.

Introductory Talk

Workshop

Students will be immersed into one of Giuseppe Verdi’s most famous operas La Traviata. Tutors will first lead a vocal warm-up session teaching students to sing an excerpt from the opera. This is followed by an introduction of storyline and characters with role-play in selected scenes, and finishes with a discussion on the underlying messages of the opera.

Bel canto with Yijie Shi

Watch tenor Yijie Shi demonstrate and coach young local singers in the finer points of Italian opera. A winner of several international vocal competitions, including the International Singing Competition “Ferruccio Tagliavini” in Graz, the International Competition for Singers “Toti dal Monte” in Treviso (2007), and the International Singing Competition “Maria Caniglia” in Sulmona, Shi is a regular at the Rossini Opera Festival, and will be singing the role of Valerio in Il Marito Disperato at the Hong Kong Arts Festival in 2013.

Tutto Verdi Film Series

Step into the world of Guiseppe Verdi (1813-1901) – of kings and jesters, of murderous vendettas and unrequited love. In a life that spanned 88 years, Verdi composed no less than 26 operas, beginning with Oberto and ending with Falstaff. This year being the bicentennial of Verdi’s birth, the HKAF brings you a marathon of High Definition and Surround Sound cinematic experience, featuring for the first time in Asia eight opera films from the 26 Tutto Verdi collection captured live by Italy’s Teatro Regio di Parma. All guaranteed to appeal to Verdi fans and novices alike.

Oberto, Conte di San Bonifacio

What a cad! Riccardo who is engaged to Cuniza seduces Leonara then deserts her. When Cuniza finds out she confronts him only to be faced with denial and lies. Melodramatic to the core, Oberto with libretto by Temistocle Solera based on an existing libretto by Antonio Piazza, was Verdi’s first complete opera. Taking four years to compose during a tumultuous time in Verdi’s life when both of his infant children died,Oberto was first presented on 17 November 1839 at Teatro alla Scala, Milan. Rarely performed today, this is a real gem for Verdi lovers, not to be missed.

Aida

If you have never been to an opera and want to give it a try, Aida is perfect for you. With its famous arias and ensembles: Radamès’s Se quel guerrier io fossi!... Celeste Aida and Aida’s Ritorna vincitor (Return victorious), Aida has become one of the most popular operas ever written. And it’s easy to understand. The Ethiopian King’s daughter, Aida, has been captured and becomes a slave in the service of the Egyptian Pharoah’s daughter, Amneris. General Radames loves Aida but is loved by Amneris. When he returns victorious from war he is rewarded by the unwelcome hand of Amneris in marriage. Aida’s father, Amonasro, has been taken prisoner, his life spared at the intercession of Radames. Amonasro induces his daughter to help him discover the plans of the Egyptian army through Radames. Aida takes flight but the apparent treachery of Radames is revealed and he is condemned to death. In the final scene he is immured in a stone tomb, where he is joined by Aida. As they die, Amneris, above the tomb, prays for peace for her beloved Radames.

Un giorno di regno

One of two opera buffa that Verdi ever composed, and a great feat for the composer who lost his beloved wife Margherita Barezzi shortly after he began work. French officer, the Cavalier di Belfiore is pretending to be the Polish king Stanislaus in order to allow the king to return to Poland in secret to reclaim this throne. Intrigue and mayhem ensues involving the proposed marriages of the niece and the daughter of the Baron di Kelbar by the supposed King, who re-arranges matters to his own satisfaction. Un giorno di regno with libretto by Felice Romani, perhaps revised by Temistocle Solera and based on the play Le faux Stanislas (The False Stanislas) by Alexandre Vincent Pineu-Duval, was first presented on 5 September 1840 at Teatro alla Scala, Milan.

Il trovatore

First performed at the Teatro Apollo, Rome on 19 January 1853, Il trovatore is as popular today as it was when it first opened. This tale of love, mistaken identities, and gypsy revenge is based on the play El trovador (1836) by Antonio García Gutiérrez, with libretto by Salvadore Cammarano and Leone Emanuele Bardare. The importance of Il trovatorelies in its music, displaying some of the most agreeable melodies Verdi ever wrote. From the soaring phrases of Leonora’s opening aria to the martial excitement of Manrico’s Di quella pira, all conventional operatic forms are used to give the singers a chance to shine.

Rigoletto

Who has not heard of La donna e mobile, probably the most recognisable of all opera arias? Rigoletto with libretto by Francesco Maria Piave and based on Victor Hugo’s playLe roi s’amuse, was first performed on 18 March 1851 at Teatro La Fenice, Venice. Its tragic story revolves around the womanising Duke of Mantua, his hunch-backed court jester Rigoletto, and his beautiful daughter Gilda. The opera’s original title, La maledizione(The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto’s encouragement. The curse comes to bear fruit when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father. Rigoletto is the first of a trio of great operas by Verdi, the others are Il trovatore (also part of this film series) and La traviata which is performed by San Carlo Theatre, Naples at the 2013 Hong Kong Arts Festival.

I lombardi alla prima crociata

A story of sibling rivalry, murder, and kidnapping, set against the backdrop of the Crusades, I Lombardi is a dramma lirico in four acts. First performed at the Teatro alla Scala, Milan on 11 February 1843, this is Verdi’s first opera with a prelude rather than a full overture. Not to be missed is Oronte’s first aria La mis letizia, the first of Verdi’s great tenor arias. Libretto by Temistocle Solera from a poem by Tomasso Grossi.

Un ballo in maschera

Set in Boston, Riccardo is in love with Amelia, wife of his friend and secretary, Renato, who has discovered a plot against the Governor, Riccardo. And so the story begins, all of which comes to a head at the masked ball. Un ballo in maschera was commissioned by the Imperial Theatre, St Petersburg and premiered at the Teatro Apollo, Rome, on 17 February 1859. This opera almost didn’t see the light of day, thanks to the censors. As a result Verdi and his librettist Antonio Somma were compelled to change the setting from Sweden to Boston and swap the King for an English Governor.

Falstaff

Falstaff, Verdi’s last opera, was adapted by librettist and longtime Verdi collaborator Arrigo Boito from Shakespeare's plays The Merry Wives of Windsor and with scenes fromHenry IV. The story revolves around the shenanigans of the knight Falstaff who professes his love to two wealthy married women. Furious, the women resolve to expose and punish him. And so begins this merry romp through 15th century England. Falstaff is Verdi’s second and last opera buffa which has long been a favorite with critics and musicians because of its brilliant orchestration, scintillating libretto and refined melodic invention.

Champagne Luncheons with Top Arts CEOs
Today's economy calls for executives who can make the tough decisions required to manage through the downturn and position their organisations for growth. Managing an arts organisationis no different. In an exclusive luncheon series, hear from two of the world’s leading CEOs in the Arts as they share their insights with you. Seating is limited so please BOOK NOW to secure your seat.

Leadership and Leverage