Teatro Dell'Opera Di Roma tickets 14 September 2024 - The Sleeping Beauty | GoComGo.com

The Sleeping Beauty

Teatro Dell'Opera Di Roma, Teatro Costanzi, Rome, Italy
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8 PM

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If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Ballet
City: Rome, Italy
Starts at: 20:00
Acts: 3

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Principal Dancer: Marianela Nuñez
Conductor: Kevin Rhodes
First Soloist: Reece Clarke
Ballet company: Teatro dell`Opera di Roma Ballet
Orchestra: Teatro dell`Opera di Roma Orchestra
Creators
Composer: Pyotr Tchaikovsky
Choreographer: Jean-Guillaume Bart
Author: Charles Perrault
Librettist: Ivan Vsevolozhsky
Librettist: Marius Petipa
Overview

Production by Teatro Dell’Opera Di Roma

History
Premiere of this production: 03 January 1890, Mariinsky Theatre in St. Petersburg

The Sleeping Beauty is a ballet in a prologue and three acts, first performed in 1890. The music was composed by Pyotr Ilyich Tchaikovsky (his opus 66). The score was completed in 1889, and is the second of his three ballets. The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault's La Belle au bois dormant. The choreographer of the original production was Marius Petipa.

Synopsis

Time: Baroque
Place: Europe

Prologue (The Christening)

King Florestan XXIV and his Queen have welcomed their first child, Princess Aurora, and declare a grand christening ceremony to honor her. Six fairies are invited to the ceremony to bestow gifts on the child. Each fairy brings a gift of a virtue or positive trait, such as beauty, courage, sweetness, musical talent, and mischief. The most powerful fairy, the Lilac Fairy, arrives with her entourage, but before she can bestow her gift, the evil fairy Carabosse arrives with her minions. Carabosse furiously asks the King and Queen why she had not received an invitation to the christening. The blame falls on Catalabutte, the Master of Ceremonies who was in charge of the guest list. Carabosse gleefully tears his wig off and beats him with her staff, before placing a curse upon the baby princess as revenge: Aurora will indeed grow up to be a beautiful, healthy, delightful young lady, but on her sixteenth birthday she will prick her finger on a Spindle and die. The King and Queen are horrified and beg Carabosse for mercy, but she shows none. However, the Lilac Fairy intervenes. Though she does not have enough power to completely undo the curse, she alters it, allowing the spindle to cause a peaceful 100-year sleep for the princess, rather than death. At the end of those 100 years, she will be woken by the kiss of a handsome prince. Relieved that Aurora's life will ultimately be spared, the court is set at ease.

Act I (The Spell)

It is the day of Princess Aurora's sixteenth birthday. Celebrations are underway, though the King is still unsettled by Carabosse's omen. The master of ceremonies discovers several peasant ladies frolicking about with knitting needles and alerts the King, who initially sentences the women to a harsh punishment. The Queen gently persuades him to spare the innocent citizens, and he agrees. An elaborate waltz is performed and Princess Aurora arrives. She is introduced to four suitors by her doting parents. Aurora and the suitors perform the famous Rose Adagio. Presently, a cloaked stranger appears and offers a gift to the princess: a spindle. Having never seen one before, Aurora curiously examines the strange object as her parents desperately try to intervene. As predicted, she pricks her finger. While initially appearing to recover quickly, she falls into a swoon and collapses. The cloaked stranger reveals herself to be Carabosse, who believes that her curse still stands and that the princess is dead. Once again, the Lilac Fairy quells the hubbub and reminds the King and Queen that Aurora is merely asleep. The princess is carried off to bed, and the Lilac Fairy casts a spell of slumber over the entire kingdom, which will only be broken when Aurora awakens. A thick layer of thorny plants grows over the palace, hiding it from view.

Act II (The Vision)

One hundred years later, Prince Désiré is attending a hunting party. Though his companions are lighthearted, the prince is unhappy and eventually asks to be left alone. On his own in the forest, he is met by the Lilac Fairy, who has chosen him to awaken Aurora. She shows him a vision of the beautiful princess, and the prince is immediately smitten. The Lilac Fairy explains the situation, and Désiré begs to be taken to the princess. The Lilac Fairy takes him to the hidden castle. Carabosse makes one last attempt to cement her vengeful curse, but the Lilac Fairy and the prince manage to defeat her together at last. Once inside the castle, Désiré awakens Aurora with a kiss. The rest of the court wakes as well, and the King and Queen heartily approve when the prince proposes marriage and the princess accepts.

Act III (The Wedding)

The royal wedding is underway. Guests include the Jewel Fairies: Diamond, Gold, Silver and Sapphire, and of course the Lilac Fairy. Fairytale characters are in attendance, including Puss in Boots and The White Cat, Princess Florine and the Bluebird, and others. Aurora and Désiré perform a grand Pas de Deux, and the entire ensemble dances. The prince and princess are married, with the Lilac Fairy blessing the union.

Structure

Titles of all of the numbers listed here come from Marius Petipa's original scenario, as well as the original libretto and programs of the first production of 1890. Major changes which were made to the score for Petipa's original production are mentioned, and help explain why the score is often heard in different versions in theatres today.

All libretti and programs of works performed on the stages of the Imperial Theatres were titled in French, which was the official language of the Emperor's Court, as well as the language in which balletic terminology is derived.

Prologue — Le baptême de la Princesse Aurore

Venue Info

Teatro Dell'Opera Di Roma - Rome
Location   Piazza Beniamino Gigli

The Teatro dell'Opera di Roma is a major opera house in Rome. Originally opened in November 1880 as the 2,212-seat Costanzi Theatre, it has undergone several changes of name as well modifications and improvements. The present house seats 1,600.  Over one hundred years of success have brought the most acclaimed voices, the most prestigious sticks, and the notes of musicians who have marked its destiny to the Teatro dell'Opera di Roma: Pietro Mascagni, Giacomo Puccini, Ottorino Respighi, have delivered it to the honors of history of Italian melodrama as the cradle of 20th-century opera and musical theater.

Original Teatro Costanzi: 1880 to 1926
The Teatro dell'Opera was originally known as the Teatro Costanzi after the contractor who built it, Domenico Costanzi (1819–1898). It was financed by Costanzi, who commissioned the Milanese architect Achille Sfondrini (1836–1900), a specialist in the building and renovation of theatres. The opera house was built in eighteen months, on the site where the house of Heliogabalus stood in ancient times, and was inaugurated on 27 November 1880 with a performance of Semiramide by Gioachino Rossini.

Designing the theatre, Sfondrini paid particular attention to the acoustics, conceiving the interior structure as a "resonance chamber", as is evident from the horseshoe shape in particular. With a seating capacity of 2,212, the house had three tiers of boxes, an amphitheater, and two separate galleries, surmounted by a dome adorned with splendid frescoes by Annibale Brugnoli.

Costanzi was obliged to manage the theater himself. Under his direction, and despite financial problems, the opera house held many world premieres of operas, including Cavalleria Rusticana by Pietro Mascagni on 17 May 1890. For a brief period, the theatre was managed by Costanzi's son, Enrico, who gained renown by organizing another great premiere, that of Tosca by Giacomo Puccini on 14 January 1900.

In 1907, the Teatro Costanzi was purchased by the impresario Walter Mocchi (1871–1955) on behalf of the Società Teatrale Internazionale e Nazionale (STIN). In 1912 Mocchi's wife, Emma Carelli, became the managing director of the new Impresa Costanzi, as the theatre was later known, following various changes in the company structure. During the fourteen years of her tenure, major works which had not been performed before in Rome (or even in Italy) were staged. These included La fanciulla del West, Turandot and Il trittico by Giacomo Puccini; Parsifal by Richard Wagner; Francesca da Rimini (Zandonai) by Riccardo Zandonai; Boris Godunov by Modest Mussorgsky; Samson et Dalila by Camille Saint-Saëns and many others. Diaghilev's Ballets Russes also performed.

Restructured Teatro Reale dell'Opera: 1926 to 1946
In November 1926 the Costanzi was bought by the Rome City Council and its name changed to Teatro Reale dell'Opera. A partial rebuilding ensued, led by architect Marcello Piacentini and lasting fifteen months. The house re-opened on 27 February 1928 with the opera Nerone by Arrigo Boito.

Chief among several major changes was the relocated entrance, from the street formerly known as Via del Teatro (where the garden of the Hotel Quirinale is now) to the opposite side, where Piazza Beniamino Gigli exists today. In addition, the amphitheater inside the theatre was replaced by the fourth tier of boxes (now the third tier) and a balcony. The interior was embellished by new stuccowork, decorations, and furnishings, including a magnificent chandelier measuring six meters in diameter and composed of 27,000 crystal drops.

Above the proscenium arch is a plaque commemorating the rebuilding: "Vittorio Emanuele III Rege, Benito Mussolini Duce, Lodovicus Spada Potenziani, Romae Gubernator Restituit MCMXXVIII—VI”". Confusingly the dates appear to be back to front. (The VI refers to the sixth year after the Fascist's March on Rome of 1922.)

Present Teatro dell'Opera di Roma: from 1946
Following the end of the monarchy, the name was simplified to Teatro dell'Opera and, in 1958, the building was again remodeled and modernized. Rome City Council again commissioned architect Marcello Piacentini, who radically altered the building's style, notably with regard to the facade, entrance, and foyer, each of these taking the form we know today.

The theater's legendary acoustics still bear comparison with any other auditorium in the world. The seating capacity is about 1,600. The house was retrofitted with air-conditioning subsequent to a restoration, which provided improvements to the interior. The stucco work was completely restored, the great proscenium arch strengthened, and a parquet floor of solid oak blocks laid to replace the previous one.

On 2 January 1958, the theater was the venue for a controversial performance of Norma starring Maria Callas in the presence of the President of Italy: for health reasons, Callas abandoned the performance after the first act (the opera company had not engaged an understudy).

The post-war period saw celebrated productions, including Mozart's Le nozze di Figaro in 1964 and Verdi's Don Carlo in 1965, both conducted by Carlo Maria Giulini and directed by Luchino Visconti.

In the 1950s and 1960s, the Director was Riccardo Vitale (father of actress Milly Vitale).

In 1992, Gian Carlo Menotti was appointed Artistic Director of the Teatro dell'Opera di Roma, a post he maintained for two years before being asked to resign over conflicts with the theatre's managers involving Menotti's insistence on staging Wagner's Lohengrin.

From 2001 to 2010, the music director and chief conductor of the company were Gianluigi Gelmetti. He was due to be succeeded in these posts by Riccardo Muti, as announced in August 2009, but Muti demurred, citing in La Repubblica in October 2010 "general difficulties that are plaguing the Italian opera houses". Later, Muti assumed a role similar to that of a music director but without a title. Notable productions under Muti have included Gluck's Iphigénie en Aulide (2009), Verdi's Nabucco (2011), Simon Boccanegra (2012), and Ernani (2013).

Daniele Gatti was first guest-conducted with the company during the 2016–2017 season. He returned for subsequent guest engagements in each of the following two seasons. In December 2018, the company announced the appointment of Gatti as its new music director, with immediate effect. Gatti is scheduled to stand down as the company's music director on 31 December 2021. In June 2021, the company announced the appointment of Michele Mariotti as its next music director, effective 1 November 2022, with an initial contract of 4 years.

Important Info
Type: Ballet
City: Rome, Italy
Starts at: 20:00
Acts: 3
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