Organization

Dyrygent

Ivo Lipanović

Reżyseria

Goran Golovko

Scenografia

Marin Gozze

Kostiumy

Mladen Radovniković

Przygotowanie chóru

Veton Marevci

Reżyseria światła

Srđan Barbarić

Wideo

Darko Škrobonja

Śpiewak

Tenor

Max Jota

Gustaw III

Baryton

Matija Meić

Renato

Marko Lasić

Sopran

Daniela Schillaci

Amelia

Julia Radosz

Kontralt

Terezija Kusanović

Ulryka

Branka Pleština Stanić

Oskar

Neda Aleksić

Joško Tranfić

Christian

Vlatko Belas

Mate Akrap

Ribbing

Felipe Cudina Begovic

Božo Župić

Horn

Špiro Boban

Sędzia

Goran Velić

Służący Amelii

Associate Director

Jelena Bosančić

Ana Šabašov

HNK Split

Orchestra

HNK Split Orchestra

Others

HNK Split Choir

Un ballo in maschera -  (Bal maskowy)

Split

Chorwacja

Un ballo in maschera Verdi

Public

Bal maskowy

Approved

Ballo in maschera

If Verdi's Crab Dance was just a "love story with a political conspiracy in the background", it would certainly provide her with initial intrigue, but certainly not the popularity that only the musical-scenic splendor characteristic of his entire oeuvre could give her. elegance, airiness and sophistication of the whole score. In addition, the eternal emphasis on the fact that people like to be disguised, that is, to skillfully hide behind various masks, at the libretto level enabled Verdi to skillfully vary and grade the theme of the issue as a background but dominant line that guides the whole action. Because, like on the occasion of the Crab Dancealready noticed, ”in this opera there is no person who would not carry the betrayal on his back. The king betrays a friend because he seduces his wife, the wife betrays her husband because he has an immoral relationship, the friend betrays the king because he wants to kill him out of revenge ", but on top of all that Verdi, as always, seeks and finds ways to betray the love theme , that is, the conspiratorial theme, as two leitmotifs of the whole opera connects and implements as a work which, despite constant and numerous contrasts, has its characteristic color ( tinta musicale ) which exudes equally other Verdi's most successful operas.

English

Da je Verdijev Krabuljni ples samo “ljubavna priča s političkom urotom u pozadini“, to bi joj svakako osiguralo početnu intrigantnost, ali svakako ne i popularnost kakvu joj je mogla dati samo glazbeno-scenska raskoš karakteristična za cijeli njegov opus kojega ovdje krase još i nedostižna elegancija, prozračnost i istančanost cjelokupne partiture. K tome, vječno isticanje činjenice da su ljudi rado zakrabuljeni, odnosno da se vješto skrivaju iza raličitih maski, na razini libreta omogućila je Verdiju da vješto varira i gradira temu izdaje kao pozadinsku ali dominantnu liniju koja vodi cijelu radnju. Jer, kao što je povodom Krabuljnog plesa već zapažano, ”u ovoj operi nema osobe koja ne bi izdaju nosila na svojim leđima. Kralj izdaje prijatelja jer zavede njegovu ženu, žena izdaje muža, jer se upustio u  nemoralnu vezu, prijatelj izdaje kralja, jer ga iz osvete želi ubiti”, no, povrh svega toga Verdi kao i uvijek traži i pronalazi načina da ljubavnu temu i temu izdaje, odnosno zavjereničku temu, kao dva leitmotiva cijele opere poveže i provede kao djelo koje unatoč stalnim i brojnim kontrastima ima svoju karakterističnu boju (tinta musicale) kojom jednako odišu i druge Verdijeve najuspjelije opere.

hrvatski

Udział w spektaklu (Obsada & realizacja )

Obsada

Załoga

Ensemble