UN BALLO IN MASCHERA

“In the confusion of masks, the blow can only be fatal; it will be a funeral dance with pale beauties”

Un ballo in maschera (Act III, Scene 4Samuel and Tom)

By the time Verdi wrote Un ballo in maschera, he was already enjoying considerable success due to the popularity of the numerous works he had written, including: Nabucco (1842) Macbeth (1847), Rigoletto (1851), Il trovatore (1853) and La traviata (1853). In this position he only aspired to find new and daring musical themes based on a powerful story, in this case the assassination of the King of Sweden, Gustav III, in 1792, during a masked ball.

Envy and conspiracies, mixed with amorous passions, politics, jealousy, revenge and final forgiveness come together in Verdi’s masterpiece. In Naples, the opera aroused the wrath and prohibitions of censors: a king could not be murdered on stage, and there were difficulties in showing scenes of witchcraft, infidelity had to be met with remorse and the conspirators had to hate the duke for hereditary reasons... so the composer was forced to make major adaptations and to transfer the plot from Sweden to late 17th century Boston.

Graham Vick’s elegant production is well suited to Verdi’s thrilling drama. Recovering the version of the premiere in Rome itself, with the plot set in Sweden and without censorship, this Ballo breaks with traditional codes. A set design built from a semicircular screen that surrounds the background, with a premonitory tomb that presides over the stage are the basis to explain the tragic destiny in which the sufferings of the main characters are shown. A suggestive space and impeccable acting work that captures the power of desire and underlines with expressive strength and coherence this postmortem production by Vick for the Teatro Regio in Parma; a universe of chiaroscuro in which monumental ensembles are combined with shots of enormous intimacy.

Freddie De Tommaso is Riccardo / Gustav III, a Swedish king in love with Amelia (Anna Pirozzi), wife of Renato, his best friend and advisor (Artur Ruciński). When the latter discovers the illicit love, he joins a conspiracy to murder the king and tragedy ensues. Daniella Barcellona (Ulrica/Arvidson) is the medium who prophesies the betrayal and tragic end.

With Un ballo in maschera, Verdi achieves unprecedented emotional and sensual heights in a staging that strengthens the mysterious atmosphere of this love for the same woman in which jealousy turns into such madness that Renato, with insurmountable wounds, ends up stabbing his friend.

Anna Pirozzi

Soprano. Born in Naples, she began her musical studies at the Instituto Musicale della Valle d'Aosta and later graduated from the Conservatorio Giuseppe Verdi in Turin. She made her professional debut in 2012 at the Teatro Regio di Torino, playing Amelia (Un ballo in maschera), and she has also sung Abigaille (Nabucco) at the Salzburg Festival. She made her debut at the Gran Teatre del Liceu in the 2017/18 season with the concert version of Attila and returned with La Gioconda (2018/19). .

Freddie De Tommaso

Tenor. He made his name by winning first prize, the Plácido Domingo Tenor Prize and the Verdi Prize at the 2018 Viñas International Singing Competition in Barcelona. Since then, he has performed at the Royal Opera House in London, Bayerische Staatsoper in Munich, De Nationale Opera in Amsterdam and Wiener Staatsoper. Recent roles include Ismaele (Nabucco) in Vienna. This is his debut at the Gran Teatre del Liceu.

Daniela Barcellona

Mezzo-soprano. Born in Trieste (Italy), she began her musical training with Alessandro Vitiello. After winning numerous international prizes, such as the Iris Adami Corradetti Prize in Pàdua and the Pavarotti International Voice Competition in Philadelphia, she made her debut at the Rossini Opera Festival in Pesaro with the opera Tancredi. She made her debut at the Gran Teatre del Liceu in the 2005/06 season with Semiramide.

Artur Ruci Ski

Baritone. A graduate of the Warsaw Academy of Music, in 2002 he made his professional debut at the Polish National Opera in Warsaw playing Eugene Onegin. His repertoire includes roles such as King Roger and Don Giovanni, Count de Luna (Il trovatore), Miller (Luisa Miller), Prince Yeletsky (Pikovaya Dama), Marcello (La bohème), Dr Malatesta (Don Pasquale) and Lescaut (Manon). He made his debut at the Gran Teatre del Liceu in the 2009/10 season with Król Roger and returned with La bohème (2015/16) and Il trovatore (2016/17).