UN BALLO IN MASCHERA
Year: 2013
Length: 221 minutes
Conductor: Fabio Luisi
Composer: Giuseppe Verdi
Production: David Alden
Cast: Sondra Radvanovsky (Amelia), Kathleen Kim (Oscar), Stephanie Blythe (Ulrica), Marcelo Álvarez (Gustavo III), Dmitri Hvorostovsky (Anckarström)
Verdi’s vivid drama of jealousy and vengeance will be seen in a new production by acclaimed opera director David Alden, returning to the Met for the first time in more than 20 years. Fabio Luisi conducts his first Met performances of the opera, which stars Sondra Radvanovsky in her Met role debut as Amelia, Marcelo Álvarez as Gustavo III, Dmitri Hvorostovsky as Anckarström, Stephanie Blythe as the fortuneteller Ulrica, and Kathleen Kim as the page Oscar. Alden, whose production is set in a dreamlike, early 20th-century Swedish environment, says that “Un Ballo in Maschera is one of Verdi’s greatest and most brilliant scores, with a variety of different colors. It alternates between the light and the intensely melodramatic. Verdi pulls it all together with unbelievable theatrical energy. Ballo is theatrical dynamite.”
Synopsis:
ACT I. The Royal Palace in Stockholm, 1792. Courtiers await an audience with King Gustavo III (Riccardo), including a group of conspirators led by Counts Horn and Ribbing (Tom and Samuel). The king enters. He notices the name of Amelia, wife of his secretary and friend Anckarström (Renato), on the guest list for a masked ball, and thinks about his secret love for her. Left alone with Gustavo, Anckarström warns the king of a conspiracy against him (“Alla vita che t’arride”), but Gustavo ignores the threat. The young page Oscar tells the king about the fortuneteller Ulrica, who has been accused of witchcraft and is to be banished (“Volta la terra”). Deciding to see for himself, the king arranges for his court to pay an incognito visit to Ulrica.
In a warehouse at the port, Ulrica invokes prophetic spirits (“Re dell’abisso”) and tells the sailor Cristiano (Silvano) that he will soon become wealthy and receive a promotion. The king, who has arrived in disguise, slips money and papers into Cristiano’s pockets. When the sailor discovers his good fortune, everybody praises Ulrica’s abilities. Gustavo hides as she sends her visitors away to admit Amelia, who is tormented by her love for the king and asks for help. Ulrica tells her that she must gather a magic herb at night by the gallows. When Amelia leaves, Gustavo decides to follow her there. Oscar and members of the court enter, and the king asks Ulrica to read his palm (“Di’ tu se fedele”). She tells him that he will die by the hand of a friend. Gustavo laughs at the prophecy (Quintet: “È scherzo od è follia”) and demands to know the name of the assassin. Ulrica replies that it will be the first person that shakes his hand. When Anckarström rushes in Gustavo clasps his hand saying that the oracle has been disproved since Anckarström is his most loyal friend. Recognizing their king, the crowd cheers him as the conspirators grumble about their discontent.
ACT II. Amelia arrives at the gallows and prays that she will be freed of her love for the king (“Ma dall’arido stelo divulsa”). When Gustavo appears, she asks him to leave, but ultimately they admit their love for each other (Duet: “Non sai tu che se l’anima mia”). Amelia hides her face when Anckarström interrupts them, warning the king that assassins are nearby. Gustavo makes Anckarström promise to escort the woman back to the city without lifting her veil, then escapes. Finding Anckarström instead of their intended victim, the conspirators make ironic remarks about his veiled companion. When Amelia realizes that her husband will fight rather than break his promise to Gustavo, she drops her veil to save him. The conspirators are amused and make fun of Anckarström for his embarassing situation. Anckarström, shocked by the king’s betrayal, asks Horn and Ribbing to come to his house the next morning.
ACT III. In his study, Anckarström threatens to kill Amelia. She asks to see their young son before she dies (“Morrò, ma prima in grazia”). After she has left, Anckarström exclaims that is it the king he should seek vengeance on, not Amelia (“Eri tu”). Horn and Ribbing arrive, and Anckarström tells them that he will join the conspirators. The men decide to draw lots to determine who will kill the king, and Anckarström forces his wife to choose from the slips of paper. When his own name comes up he is overjoyed. Oscar enters, bringing an invitation to the masked ball. As the assassins welcome this chance to execute their plan, Amelia decides to warn the king (“Di che fulgor”).
Gustavo, alone in his study, resolves to renounce his love and to send Amelia and Anckarström to Finland (“Ma se m’è forza perderti”). Oscar brings an anonymous letter warning him of the murder plot, but the king refuses to be intimidated and leaves for the masquerade. In the ballroom, Anckarström tries to learn from Oscar what costume the king is wearing. The page answers evasively (“Saper vorreste”) but finally reveals Gustavo’s disguise. Amelia and the king meet, and she repeats her warning. Refusing to leave, he declares his love one more time and tells her that he is sending her away with her husband. As the lovers say goodbye, Anckarström stabs the king. The dying Gustavo forgives his murderer and admits that he loved Amelia but assures Anckarström that his wife is innocent. The crowd praises the king’s goodness and generosity.
Composer: Giuseppe Verdi
Production: David Alden
Cast: Sondra Radvanovsky (Amelia), Kathleen Kim (Oscar), Stephanie Blythe (Ulrica), Marcelo Álvarez (Gustavo III), Dmitri Hvorostovsky (Anckarström)
Verdi’s vivid drama of jealousy and vengeance will be seen in a new production by acclaimed opera director David Alden, returning to the Met for the first time in more than 20 years. Fabio Luisi conducts his first Met performances of the opera, which stars Sondra Radvanovsky in her Met role debut as Amelia, Marcelo Álvarez as Gustavo III, Dmitri Hvorostovsky as Anckarström, Stephanie Blythe as the fortuneteller Ulrica, and Kathleen Kim as the page Oscar. Alden, whose production is set in a dreamlike, early 20th-century Swedish environment, says that “Un Ballo in Maschera is one of Verdi’s greatest and most brilliant scores, with a variety of different colors. It alternates between the light and the intensely melodramatic. Verdi pulls it all together with unbelievable theatrical energy. Ballo is theatrical dynamite.”
Synopsis:
ACT I. The Royal Palace in Stockholm, 1792. Courtiers await an audience with King Gustavo III (Riccardo), including a group of conspirators led by Counts Horn and Ribbing (Tom and Samuel). The king enters. He notices the name of Amelia, wife of his secretary and friend Anckarström (Renato), on the guest list for a masked ball, and thinks about his secret love for her. Left alone with Gustavo, Anckarström warns the king of a conspiracy against him (“Alla vita che t’arride”), but Gustavo ignores the threat. The young page Oscar tells the king about the fortuneteller Ulrica, who has been accused of witchcraft and is to be banished (“Volta la terra”). Deciding to see for himself, the king arranges for his court to pay an incognito visit to Ulrica.
In a warehouse at the port, Ulrica invokes prophetic spirits (“Re dell’abisso”) and tells the sailor Cristiano (Silvano) that he will soon become wealthy and receive a promotion. The king, who has arrived in disguise, slips money and papers into Cristiano’s pockets. When the sailor discovers his good fortune, everybody praises Ulrica’s abilities. Gustavo hides as she sends her visitors away to admit Amelia, who is tormented by her love for the king and asks for help. Ulrica tells her that she must gather a magic herb at night by the gallows. When Amelia leaves, Gustavo decides to follow her there. Oscar and members of the court enter, and the king asks Ulrica to read his palm (“Di’ tu se fedele”). She tells him that he will die by the hand of a friend. Gustavo laughs at the prophecy (Quintet: “È scherzo od è follia”) and demands to know the name of the assassin. Ulrica replies that it will be the first person that shakes his hand. When Anckarström rushes in Gustavo clasps his hand saying that the oracle has been disproved since Anckarström is his most loyal friend. Recognizing their king, the crowd cheers him as the conspirators grumble about their discontent.
ACT II. Amelia arrives at the gallows and prays that she will be freed of her love for the king (“Ma dall’arido stelo divulsa”). When Gustavo appears, she asks him to leave, but ultimately they admit their love for each other (Duet: “Non sai tu che se l’anima mia”). Amelia hides her face when Anckarström interrupts them, warning the king that assassins are nearby. Gustavo makes Anckarström promise to escort the woman back to the city without lifting her veil, then escapes. Finding Anckarström instead of their intended victim, the conspirators make ironic remarks about his veiled companion. When Amelia realizes that her husband will fight rather than break his promise to Gustavo, she drops her veil to save him. The conspirators are amused and make fun of Anckarström for his embarassing situation. Anckarström, shocked by the king’s betrayal, asks Horn and Ribbing to come to his house the next morning.
ACT III. In his study, Anckarström threatens to kill Amelia. She asks to see their young son before she dies (“Morrò, ma prima in grazia”). After she has left, Anckarström exclaims that is it the king he should seek vengeance on, not Amelia (“Eri tu”). Horn and Ribbing arrive, and Anckarström tells them that he will join the conspirators. The men decide to draw lots to determine who will kill the king, and Anckarström forces his wife to choose from the slips of paper. When his own name comes up he is overjoyed. Oscar enters, bringing an invitation to the masked ball. As the assassins welcome this chance to execute their plan, Amelia decides to warn the king (“Di che fulgor”).
Gustavo, alone in his study, resolves to renounce his love and to send Amelia and Anckarström to Finland (“Ma se m’è forza perderti”). Oscar brings an anonymous letter warning him of the murder plot, but the king refuses to be intimidated and leaves for the masquerade. In the ballroom, Anckarström tries to learn from Oscar what costume the king is wearing. The page answers evasively (“Saper vorreste”) but finally reveals Gustavo’s disguise. Amelia and the king meet, and she repeats her warning. Refusing to leave, he declares his love one more time and tells her that he is sending her away with her husband. As the lovers say goodbye, Anckarström stabs the king. The dying Gustavo forgives his murderer and admits that he loved Amelia but assures Anckarström that his wife is innocent. The crowd praises the king’s goodness and generosity.
* Cry Baby Session
