Il Tabarro Libretto English
Saran Bascas
Il tabarro : (da 'La Houppelande' di Didier Gold) / libretto di Giuseppe Adami (p. [3]) -- Suor Angelica / libretto di Gioachino Forzano (p. [33]) -- Gianni Schicchi / libretto di Gioachino Forzano (p. [59]).
Giacomo Puccini composed his Il trittico as a trio of one-act operas, the first evoking horror, the second sadness and the third laughter. Now for the first time, the three short operas are being performed together by Dutch National Opera. This concludes the Puccini cycle that conductor Lorenzo Viotti and stage director Barrie Kosky have produced over three seasons.
The three one-act operas are very different in character, setting and subject matter, but they share one key feature: death. In Il tabarro (The cloak), a sailor and his wife have lost their only child and have become fatally estranged in the aftermath. The main character in Suor Angelica was banished to a convent after giving birth to an illegitimate baby. There, seven years later, she learns that her son has died. In desperation, she commits suicide but as she dies she is forgiven by the Virgin Mary in a vision. In Gianni Schicchi, a rich old man dies. His greedy family try to get their hands on the inheritance with the help of the cunning farmer Schicchi.
The role of Suor Angelica, a character whose tragedy never fails to move, will be sung by soprano Elena Stikhina, who previously gave a stunning performance in the title role of Madama Butterfly at DNO.
This production was created in accordance with the Green Deal as one of the first in a series. We are learning all we can from our experiences, and this will help us adapt our approach next season.
To offset the unavoidable emissions resulting from this performance, Dutch National Opera & Ballet is partnering with Trees For All, a charity recognised by the Netherlands Fundraising Regulator. Trees For All plants trees in the Netherlands and abroad for a better climate, more biodiversity and a healthier living environment.
Audiences attending this performance are being offered the opportunity to make an extra contribution to two forest sustainability projects: new loam-soil woodland in the Groene Woud nature area in Brabant (Netherlands) and the restoration of the tropical rainforest and habitat of the orang-utan in Borneo.
You too can contribute to these forest sustainability projects. If you buy tickets online for Il trittico, you will get the option during the payment process to add an extra amount. Your contribution goes directly to Trees For All.
Along with the printed programme book, we also offer online programme information for this performance. The online programme will take you behind the scenes with in-depth stories, articles, and interviews with the creators and cast.
The Netherlands Philharmonic Orchestra and Netherlands Chamber Orchestra have been the main orchestral partners of Dutch National Opera for over thirty years. They are regarded as among the best opera orchestras in the world. The Concertgebouw in Amsterdam is the main regular stage for their concerts.
In addition to the programmes with chief conductor Lorenzo Viotti and Gordan Nicolić (musical leader of the Netherlands Chamber Orchestra), the orchestras collaborate with both internationally acclaimed guest conductors and soloists and top-class musicians from the up-and-coming generation.
In the 2023/2024 season, the Netherlands Philharmonic Orchestra will be playing the operas Aufstieg und Fall der Stadt Mahagonny, Lohengrin, Il trittico and Oedipus Rex / Antigone. The Netherlands Chamber Orchestra can be heard in Die Zauberflte and Roberto Devereux.
The soundscape is gorgeous. Written for female voices alone, the opera juxtaposes ethereal choruses, delicate notes of church bells and birdsong, along with the kind of intense, over-the-top emotion only opera can convey. In this work, serenity and anguish are never far apart.
Puccini is much kinder to Schicchi than Dante and gives the last word to his hero, who speaks directly to the audience at the end of the opera, telling us that he really ought to be forgiven for his crime.
Stagings of Il trittico in its entirety are rare. But the opera represents Puccini at his finest, and it is surprising that it has been staged only once before in Canada. That was in 1971 at the short-lived Opra du Qubec (not the present day Opra de Qubec).
The artistic director at the time was Lopold Simoneau, who would later move to Victoria and found Canada Opera Piccola. The role of Michele in Il tabarro was performed by Bernard Turgeon, an operatic legend, admired pedagogue, and, in his later years, an Elk Lake asparagus farmer. Bernard performed internationally over a stellar 57-year career, created the role of Louis Riel for the Canadian Opera Company, and performed in multiple Pacific Opera productions during the 1980s and 1990s.
Puccini often visited his sister, a nun, in her convent, and so absorbed the quiet simplicity of the life of the order. Notice how he gives each of the nuns with solo lines her own tiny profile, yet conveys the discipline each has assumed despite small ripples of rebellion.
Il trittico (The Triptych) is the title of a collection of three one-act operas, Il tabarro, Suor Angelica, and Gianni Schicchi, by Giacomo Puccini. The work received its world premiere at the Metropolitan Opera on 14 December 1918. The Taormina production is a cooperation between Taormina Arte and Opra-Thatre de Metz (France) and Fondazione Luciano Pavarotti.
The stevedores depart except for Luigi, who asks Michele to dismiss him and let him off in Rouen, but Michele convinces him against this, saying there is not enough work in Rouen. When they are alone, Giorgetta asks Luigi why he requested to be dismissed; the pair acknowledge their love. They plan to meet later that evening upon the signal of a match being lit on board. By now Luigi seems determined to kill Michele and flee with Giorgetta.
Michele later reminisces with Giorgetta of the days before their child died and how he could cover the two of them under his cloak. He is distressed about being twice her age; she comforts him but she still will not kiss him, and goes off.
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Il tabarro un'opera in un atto di Giacomo Puccini, su libretto di Giuseppe Adami tratto da La houppelande di Didier Gold.Fa parte del Trittico.La prima assoluta ebbe luogo il 14 dicembre 1918 al Metropolitan di New York,[1] dove fino al 2009 ha avuto 80 rappresentazioni.Tra gli interpreti della prima, il tenore Giulio Crimi nel ruolo di Luigi, Claudia Muzio come Giorgetta, Luigi Montesanto come Michele ed Angelo Bad come Tinca.
L'interruzione fu dovuta alla necessit di lavorare alla Rondine, opera per la quale Puccini aveva sottoscritto un contratto. Al contrario, Il tabarro fu composto senza conoscerne la destinazione.Come opera in un atto non sarebbe bastato a coprire la durata di uno spettacolo teatrale, tanto che Puccini pens inizialmente di abbinarlo ad una ripresa della sua prima opera, Le Villi, all'epoca quasi dimenticata. Solo in seguito all'incontro col librettista Giovacchino Forzano, Puccini decise di farne il primo pannello di un trittico di opere in un atto da eseguirsi in un'unica sera.
Nei decenni, pur senza mai diventare un'opera popolare, Il tabarro si guadagnato un posto di tutto rispetto tra le opere di Puccini. L'intenzionale assenza di melodie facili, di quelle che colpiscono immediatamente l'orecchio, compensata da un'estrema densit drammatica e compositiva. Puccini lavora per lo pi su leitmotiv di poche note, elaborandoli sul piano delle sonorit pi che su quello armonico. Al contrario, a partire da quest'opera che Puccini inizia a costruire le sue partiture per grandi blocchi tonali, di monumentale staticit.
Sul piano drammaturgico, Il tabarro sembrerebbe segnare un inatteso e tardivo omaggio all'opera verista. L'azione si svolge infatti nei bassifondi di Parigi, in riva alla Senna, tra scaricatori e donne del popolo. Due decenni prima, nel momento di massima fortuna del melodramma verista, Puccini aveva evitato di aderire a questo filone, rinunciando a mettere in musica La lupa di Verga.
Nel farlo ora, fuori tempo massimo, ne rovescia di segno i principi estetici. Nessuno dei suoi lavori infatti cos lontano dal tono nazional-popolare di Cavalleria rusticana, di Pagliacci e delle altre celebri opere della stagione verista. La severit con cui la musica si concentra sul dramma pu semmai richiamare alla lontana l'idea verdiana di un teatro musicale in cui tutto dev'essere al servizio del dramma.
La pi cupa tra le opere di Puccini imperniata sull'idea del tempo che passa, incarnata metaforicamente dall'ora del tramonto, dalla stagione autunnale e soprattutto dal lento, inesorabile scorrere del fiume, intorno al quale l'intera vicenda si sviluppa. Un'idea alla quale rinvia anche l'uso massiccio di tempi a struttura ternaria, il cui moto circolare guida i protagonisti verso la tragedia avvolti in un clima di danzante erotismo. Dice la protagonista: Io capisco una musica sola: quella che fa danzare, ma la musica che accompagna le sue parole la stessa che aprir il suo appassionato duetto d'amore con Luigi.
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