Admin

Štátne divadlo Košice

Conductor

Peter Valentovic

Stage director

Anton Korenči

Costume designer

Mitzy Von Hoffmann

Lighting designer

Róbert Farkaš

Video designer

Jakub Pišek

Bea Kolbašovská

Vinicius Kattah

Chorus master

Lukáš Kozubík

Singer

Soprano

Eva Bodorová

Elizabeth

Michaela Várady

Baritone

Marián Lukáč

The Duke of Nottingham

Marek Gurbal

Mezzo-soprano

Elena Maximova

Sara

Myroslava Havryliuk

Tenor

Juraj Hollý

Roberto Devereux

David Astorga

Anton Baculík

Lord Cecil

Maksym Kutsenko

Bass

Michal Onufer

Sir Walter Raleigh

Martin Kovács

Contralto

László Havasi

A page

Krisztián Kokolusz

A servant of Nottingham

Košice

Slovakia

Národné Divadlo Košice (ex Štátne divadlo)

Historical building

Public

Akshay C K

Approved

Roberto Devereux Donizetti

Príbeh lásky, zrady a moci. Nádherná hudba Gaetana Donizettiho v jeho majstrovskej opere ROBERTO DEVEREUX vás spolu so skvelými sólistami, zborom a orchestro...

Opera Roberto Devereux draws the theme from English history and it is the third portrayal of the Queen Elizabeth I. As the last living daughter of Henry VIII. and Anna Boleyn she took the throne of England in 1558. This strong character inspired Gaetano Donizetti the first time in opera Elisabetta all Castello di Kenilworth, that was written by Walter Scott. The second time, he confronts Queen Elizabeth with Scotch Queen Maria Stuart, following Schiller’s drama. And thirdly, in Roberto Devereux, he deals with her dramatic relationship to the Count of Essex. The score was written in the time of the composer’s deep life crisis. In a close succession he lost his parents, experienced a dead baby childbirth and another child short-lived, and eventually he lost his wife. The opera was premiered with great success on 29 October 1837 in Neapolitan Teatro San Carlo. One year later Parisian 'Théâtre Italien' presented a modified version. Its overture contains motive of English anthem God Save the Queen. Roberto Devereux, like most bel canto classic operas, disappeared from world stages for quite some time but returned back during the renaissance of classic opera in the middle of the last century.

English

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Lomās

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