Organization

Conductor

Valery Gergiev

Stage director

Pier Luigi Pizzi

Set designer

Massimo Pizzi Gasparon

Costume designer

Lighting designer

Vincenzo Raponi

Choreographer

Emil Faski

Pianist

Marina Mishuk

Chorus master

Pavel Teplov

Repetiteur

Marina Nikitina

Singer

Soprano

Tatiana Serjan

Leonora

Mezzo-soprano

Anna Kiknadze

Azucena

Tenor

Ivan Gyngazov

Manrico

Baritone

Ariunbaatar Ganbaatar

The Count of Luna

Bass

Andrei Serov

Ferrando

Primorsky Stage of the Mariinsky Theatre

италиански

Il trovatore -  (The Troubadour)

Vladivostok

Russia

Il trovatore

Public

The Troubadour

руски

английски

Approved

Pier Luigi Pizzi on his production of the opera:
“In my opinion, Il trovatore is a stunning example of Verdian melodrama, a point of reference for many other composers in the 19th century. The perfection of the opera’s musical form, its engaging plot, vivid choral scenes and the unusual beauty of the melodies allowed Verdi to convey with great power human passions including love, hate and jealousy as well as revenge and death.
Returning once again to this opera, so adored by many, and doing so at a mature age, I plan to focus on the psychology of the characters. I will also focus particularly on the intense dramatic story being told. The characters of the protagonists seem to me to create a strong impression.
Azucena is, of course, the lead female character: she treacherously fans the flames of the conflict between Manrico and the Conte di Luna, two brothers unaware of their blood ties, and awakens feelings of rivalry and mutual hatred between them.
I find that the Conte di Luna is another protagonist on whom Verdi bestowed the most noble and passionate arias. The insistence with which he seeks out his lost brother, the ardent passion he feels for Leonora, his fervent desire and his malice at unrequited feelings make the Conte di Luna a powerful dramatic character.
In comparison with him, Manrico, who has the privilege of performing the opera’s most famous aria, remains vulnerable and immature, young and inexperienced  – a mere pawn in the hands of the gypsy woman. Of Leonora it could be said that she is one of the most romantic characters in the history of opera. Two arias that Verdi assigned to this role  – Tacea la notte placida and D’amor sull ali rosee  – rouse the most incredibly tender thoughts for this courageous woman who resolves to sacrifice herself for the sake of love.
This opera stirs powerful emotions in me, and I would like to convey this noble feeling to the audience.”

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