History

29 september: "Die Csárdásfürstin". Production of the Saint Petersburg Chamber Opera.

In the diverse repertoire of the theatre 'St. Petersburg Opera' along with the opera dramas by Verdi and Puccini, the masterpieces of Russian musical classics, quite a significant place takes the cycle called ‘Operetta in the opera house’ The artistic director of the theater, Yuri Alexandrov, often turns to this genre, because, as he says himself, “time dictates the need for happy finals”. In addition, the operetta requires luxurious operatic voices, and the St. Petersburg Opera theater has long been famous for this. The Artistic director of the theatre Yuri Alexandrov, often turns to this genre because as he says himself, “nowadays' life dictates the need for happy finals”. 

This season the theatre presents the premiere of the production of the operetta 'Die Csárdásfürstin'. Besides the classics of the genre such as Johann Strauss, Jacques Offenbach and Robert Plunkett, a Hungarian name of the composer Emmerich Kálmán is included in the theatre’s playbill. ‘Die Csárdásfürstin’ is one of the most popular of his works. Its original name did not stick in Russia, and it is called ‘Silva’. The Russian premiere took place during the First World War, therefore, many names of the characters were changed. A curious fact: the success of the premiere, both in Vienna and in St. Petersburg was such that the performance became one of the most memorable theatrical events on both sides of the front - in Russia and in Austria- Hungary.
One hundred years after the premiere, this operetta has not lost its relevance and charm. Inspirational melodies of 'Die Csárdásfürstin' captivate new generations of spectators…

CREDITS:
Music: Imre Kálmán
Libretto: Leo Stein
Bela Jenbach
Production: Yuri Alexandrov
Conductor: Alexander Goikhman
Scenography, costumes, lighting: Vyacheslav Okunev
Directors: Tatyana Karpacheva
Natalia Chernikova
Chorus Master: Maria Gergel
Musical Preparation: Nina Zhukovskaya
Choreographer: Nadezhda Kalinina

Start at:19.00
Running time:2.45
Our premiere:December, 7, 2018
Age category:12+

2 october: "Dido and Aeneas". Cultural Centre of the Regional Government of Central Macedonia

Cultural Centre of the Regional Government of Central Macedonia
Thessaloniki City Hall Symphony Orchestra

Composed by the great British composer Henry Pursell, "Dido and Aeneas" is one of the masterpieces of the baroque era. The Greek myth of the Queen of Carthage and her love with the Trojan Aeneas, was the base of the storyline of the opera. Having all the components of a fairytale, it captures the imagination of the audience who follow the story to its dramatic finale. 

The production, having had 8 performances and more than 9000 audiences, was the big music event for the Cultural Centre of the Regional Government on Central Macedonia (R.G.C.M.) for the previous year, in collaboration with the National Theatre of Northern Greece (N.T.N.G.) and the Thessaloniki Concert Hall.

Production team
Director: Dimitris Kianidis
Сonductor: Lisa Xanthopoulou
Costumes: Ioanna Manoledaki
Set: Athanasios Kolalas 

Cast: will be announced 

Synopsis 
Act I 
The Trojan hero Aeneas has managed to save his young son Ascanius and carry his father from the ruins of burning Troy. Zeus has commissioned him to sail to Italy and found a new kingdom with his comrades. In the course of their passage through the Mediterranean, the Trojans land at Carthage, the city ruled by Queen Dido. After her husband´s death, Dido has vowed never to remarry, pledging herself entirely to the welfare of her state. Dido honours Aeneas with a royal banquet. She falls in love with him. Dido is tormented by doubts. Belinda dispels her mistress´ misgivings. She knows that the Trojan Aeneas harbours similar feelings. 

Act II 
The witches have assembled in a steep ravine. Their leader commands the destruction of Carthage as punishment for the irresponsible behaviour of Dido and Aeneas. A witch reports that Dido and Aeneas are hunting. The witch is ordered to disguise herself as Mercurius and announce Zeus´ decision to Aeneas that he has to set sail for Italy at once. The remaining witches shall evoke a storm in order to drive the hunting company back to the city. Meanwhile, Belinda and the royal entourage are enjoying the beauty of the holy grove where they are resting. A seer interrupts their mood, accouncing that this is a place of doom. Dido arrives, followed by Aeneas who has felled a mighty boar. As soon as the lovers have retired to the tent prepared for them, the storm breaks. Aeneas alone is prevented by the witches from fleeing back to the city. The witch disguised as Mercurius commands him to leave for Italy immediately. The hero, although profoundly shaken, is prepared to fulfil his duty. 

Act III

The Trojans are preparing for their departure. The witches rejoice when they see the disconsolate Queen. Dido feels that the Gods have punished her with Aeneas´ faithlessness because she broke her vow; she refuses Aeneas´ offer to stay. The lovers accept the fate that has failed to respect their innermost desires and sacrifice their love. Belinda is unable to comfort Dido. Aeneas sets sail with his comrades. Dido dies.

Credits:
Music: Henry Pursell
Start at: 19.00
Running time: 3.00
Age category: 16+

12 october: "L’oca del Cairo, The Goose of Cairo". Production by Hungarian State Opera.

In the four years after the composition of Die Entführung aus dem Serail in 1782, Mozart was flirting with the comic opera genre. “I have looked through a hundred libretti, and more, but have not been able to find even one with which I am satisfied” – he wrote to his father in Salzburg. 
“The chief thing is the comic element – I know the taste of the Viennese” – wrote Mozart to one of his potential librettists, while still looking for a new libretto for his latest opera. The fruit of this labour was L’oca del Cairo, The Goose of Cairo, an abortive project if there ever was one. It is perhaps a measure of Mozart’s desperation that he should not only be prepared to consider collaborating on a comic opera with Abbate Varesco, the librettist of the opera Idomeno, who, as he admitted, had “not the slightest knowledge or experience of the theatre” but should actually work on so barren a tale off and on for six months before finally acknowledging that it was hopeless. The story of an old Marquis who betroths her daughter to a man she doesn’t like, and keeps her shut up in a tower from which the daughter’s true love can rescue her with the help of a giant mechanical goose, certainly won’t join the pantheon of drama. 
Another opera fragment, Lo sposo deluso, The Deluded Bridegroom, probably dates from about the same time. It may be the libretto Mozart mentioned in a letter: “An Italian poet” brought him a text, which “I shall perhaps adopt if he agrees to adjust and tailor it to my liking” – he wrote. The poet is often assumed to be Da Ponte himself. 
The true importance of L'oca del Cairo – which is composed of only a few arias, two duets, a quartet, and a finale – for Mozart’s dramaturgy is that it was his first true, eventful buffo finale: through-composed and with two opposing groups, in which the roles are delineated further through distinct musical characterisation. This was the prelude to Mozart’s great Da Ponte-operas: Le nozze di Figaro, Don Giovanni, and Cosi fan tutte.

General cast 
Conductor: Pál Németh 
Don Pippo: István Kovács 
Celidora: Anikó Bakonyi 
Calandrino: Gergely Biri 
Lionetto: János Szerekován 
Lavina: Zita Váradi 
Biondello: Péter Balczó 
Auretta: Bori Keszei 
Chichibio: Máté Fülep 

Credits 
Music: Wolfgang Amadeus Mozart 
Librettist: Lorenzo Da Ponte / Giovanni Battista Varesco 
Concept by: Attila Toronykőy / Szilveszter Ókovács 
Music edited by: Pál Németh 
Italian libretto supplemented by: Éva Lax 
Director: Attila Toronykőy 
Set and costume designer: Katalin Juhász 
Dramaturg, Hungarian surtitles: Judit Kenesey 
Russian surtitles: Okszána dr. Taskovics

Start at: 19.00
Running time: 2.10
Performed in Italian (with Russian surtitles)
Age category: 16+

16 OCTOBER: STORIES OF CLORINDA, JEPHTE AND ISMÈNE. Production of Collegium Musicum Riga (Latvia).

Stories of Clorinda, Jephte and Ismène 
Part I 
Claudio Monteverdi (1567-1643) 
Operatic scena Il Combattimento di Tancredi e Clorinda (1638) 
Giacomo Carissimi (1605-1674) 
Oratorio Jephte (~1648) 
Part II 
François Rebel (1701-1775) / François Francœur (1698-1787)  
Pastorale heroique Ismène (1747) 

One of the most beautiful master works of the first half of 17th century, one act scenes – Il Combattimento di Tancredi e Clorinda and Jephte – represent early form of opera. Rhetoric and historical gestures are main keywords to this wonderful world of Greek tragedy. 
Whereas story of Daphnis and Ismène love is delicate 18th century example of fashion of Versailles in that period. Moreover, already at that time, among their contemporaries, both composers – François Rebel and François Francœur – were famous for deliberately hiding their authorship, creating a veil of mystery around Pastorale heroique Ismène to this day. 

">Il Combattimento di Tancredi e Clorinda 
At a time when Crusader troops heroically defend the kingdom of Jerusalem, the knight falls in love with the Saracen princess. It is even more foolish to fall in love with a woman who, dressed in knight’s armor, fights invincibly against crusaders and is at the forefront of the best warriors. Tancredi’s love does not allow him to accept Clorinda's challenge to the duel, and only the accidental encounter in the dark is once fatal – Tancredi does not recognize Clorinda, accepts the challenge, and as a result of a long-lasting combat, Clorinda is killed in the chest. Only after that desperate Tancredi finds out his irreversible mistake, but it is too late. Love, which turns out to be mutual, is not destined to come true. Clorinda dies. 

Jephte 
The Israelis must prevent an Ammon attack that can prove to be fatal. Managing the struggle against the Ammon was entrusted to Jephte, a brave soldier. He promised Jehovah, "If you help us win this battle, I'll give you the first one coming out of my home to expect me to come back." Jehovah listened to Jephte's request and helped him win. 
When Jephte came home, his daughter - his only child - came out in front of him. She danced and played tambourine. How will Jephte act? Remembering his promise, he exclaimed, "Oh no, my daughter! You break my heart! I made a promise to God. I have to keep it! But Jephte's daughter said, "Father, if you have promised God, you have to do it. Just allow me to spend two more months in the mountains with my friends. Then I would obey my destiny. 

Ismène 
Oh, this Daphnis, whose heart is full of love for beautiful Ismène. The flowers in the meadow, the mountain stream and the air to breathe are full of his love. The good friend Cloé also feels the flames of love sparkling in the hearts of Daphnis and Ismène. But what will Oracle say? Will Gods allow both lovers enjoy the pleasures of love? Maybe Daphni's story of the shepherd and the beautiful nymph who loves each other will make Ismène's heart beat faster and increase magic between the two, or will they remain as beautiful images in a vicious fairy tale? However, the feelings of both are so real that Oralus does not resist them to feel the most beautiful of the pleasures - love. 

Conductor and director MĀRIS KUPČS 
MĀRIS KUPČS started his musical career as a choir conductor, later focusing on harpsichord and orchestra conducting. He is a winner of many contests, as well as with the established choir “Balsis” (BBC Silver Rose Bowl, etc.). He is founder of the baroque orchestra Collegium Musicum Riga, baroque choir Collegium Choro Musici Riga, as well as Early Music Department of J. Vītols Latvian Academy of Music. He equally successfully acted as guest conductor of the symphony music concerts and operas. He staged operetta (J. Strauss Die Fledermaus, Latvian National Opera, J. Strauss Wiener Waltz, Liepaja Theatre) and opera (Z. Liepiņš Notre-Dame de Paris (“Parīzes Dievmātes katedrāle”), Latvian National Theatre) and more than 20 baroque operas (G. F. Handel Acis and Galatea, Deidamia, A. Vivaldi Ottone in villa, etc). His specific knowledge, obtained through research of early music and finding new, undiscovered music libraries, was of great importance during the production process. The most successful co-operation once turned to the Liepāja Symphony orchestra, the CD Blow, Wind received Latvian Music Record of the Year award of the 2000s. 
Māris Kupčs is a well-esteemed and popular guest lecturer in European universities, particularly in questions concerning the Bach era vocal and instrumental performance peculiarities, as well as 18th century opera performance and theatre repertoire. He was chosen by the Festival d'Ambronay and Centre of Baroque as one of the seven European early music mentors in the Creative Europe project eeemerging (Emerging European Ensembles). Since year 2018 Māris Kupčs is artist of prestigious label Toccata Classics. 

The name of the Baroque orchestra COLLEGIUM MUSICUM RIGA has been borrowed from an orchestra that performed in Riga in the 17th century. Both then and now the musicians are united by their affection towards the Baroque music. The existing orchestra was founded in year 1990 by Maris Kupcs, who is one of the most determined researchers of Baroque and Classicism music in Latvia. He is also involved in the education of young musicians, enthusiastically drawing their attention to the unique magnificence and virtuosity of the Baroque music. Since 2004, the Baroque Orchestra is complete 20 people baroque orchestra who play historical instruments, according to the historical interpretation and this is the only in Latvia and Baltic countries. 
The Baroque orchestra Collegium Musicum Riga and conductor Māris Kupčs have been nominated for The Great Music Award in categories 'Musical Group of the year' (2010) and 'Oustanding work throughout the year' (2017). In the year 2012, CD Music in Riga 1570-1800 has been nominated for Latvian Music Record of the Year award. 

A specific priority is our own Latvian territory written 17th and 18th century music, which the conductor Māris Kupčs with a relentless interest are searching in the archives in Latvia and all Europe. Staged a number of significant premieres – J. A. Hiller – opera Die Jagd, Latvian cantata Ta Simtaa Dzeesma (100. Psalm), G. M. Telemann Wie bin ich doch so herzlich froh, F. A. Veichtner opera Cyrrus und Casandea, J. V. Meder St. Mattew passion and many other pieces that without these searches would be lost. Also played in the all-time most popular baroque masterpieces – J. S. Bach (cantatas 21, 36, 62, 106, Bauern, Peasant), G. F. Handel Wassermusik, A. Vivaldi Bassoon concert e-moll and many others. 

ARTISTS 
Soloists: 
Ilze Greēvele-Skaraine (soprano) 
Monta Martinsone (soprano) 
Rinalds Kandalincevs (baritone) 
Ansis Bētinš (tenor) 

Baroque orchestra COLLEGIUM MUSICUM RIGA 
Baroque choir COLLEGIUM CHORO MUSICI RIGA 
Baroque dance group in direction by Guna Ezermale

CREDITS:
Conductor and director : Māris Kupčs
Costume Designer: Elena Forste
Set Designer: Artūrs Arnis
Rhetorical gestures : Katerina Antonenko

Start at:19.00
Running time:1.35
Age category:16+

20 october: "La scala di seta". State Opera and ballet theatre "Astana Opera" (Kazakhstan).

In 1822, having met G. Rossini at the zenith of his fame, Beethoven said: “Never try to write anything else besides opera buffa, any other style will do violence against your nature.” Long time before this, the 20-year-old composer, the future author of ‘Il Barbiere di Siviglia' created for the Teatro San Moisè in Venice a small operatic farsa comica in one act called 'La scala di seta' on the libretto by G. Foppa. In 'La scala di seta', the sparkling sense of humor and lively improvisational manner of the actors playing in the plot is combined with the virtuosity of Rossini's vocal and instrumental parts. Rossini praises the sensuality, enthusiasm and ingenuity of young lovers, whose relationship must remain as a secret until the time comes. 

The plot takes place in the XVIII century and unfolds around Giulia who secretly married her beloved Dorvil. The legitimate husband gets to his wife on the silk stairs, which she throws him out of the window. Giulia's guardian, old Dormont who is unaware of this marriage, tries to marry her to Blansac. Misunderstandings and confusions constantly jumble together, so in the end everything happily resolved.

Conductor Director – Abzal Mukhitdinov, Honoured employee of Kazakhstan
Production Director – Alla Simonishvili 
Stage and Costume Designer – Manana Gunia 
Tehnical Project Director –Viktor Karare 
Assistant Conductor Director – Ruslan Baymurzin 
Production Director Assistant – Erenbak Toykenov 
Accompanists – Elena Sakhno, Zhanar Akhmetova, Meruyert Zhakenova
Assistants Production Director – Altynganym Akhmetova, Mansiya Estekova
Project Coordinator – Marzhan Zhakenova 

Cast: 
Giulia – Zhannat Baktai, Honoured artist of Kazakhstan 
Dorvil –Zhan Tapin, Honoured employee of Kazakhstan 
Germano – Sundet Baygozhin, Honoured employee of Kazakhstan, laureat of the State Prize of the Republic of Kazakhstan 
Lucilla – Saltanat Muratbekova 
Blansac – Evgeny Tchainikov 
Dormont – Ramzat Balakishnev 

CHAMBER ORCHESTRA “ASTANA OPERA” 
Harpsichord: Elena Sakhno, Zhanar Akhmetova

CREDITS:
Music: Gioachino Rossini
Libretto: Giuseppe Maria Foppa (on the basis of libretto by F. Planard written for the opera by P. Gaveauxt (1808)

Start at:19.00
Running time:1.20
World premiere:May 9, 1812, Teatro San Moise, Venice
Our premiere:April 6, 2019, Astana Opera Theatre (Kazakhstan)
Performed in Italian (with Russian surtitles)
Age category:16+

24 october: "Il mondo della luna". Bashkir State Opera and ballet theatre.

Austrian composer Joseph Haydn is often called the “Father of the Symphony” and the creator of sonatas, string quartets. His name is least associated with opera grenre. However, the composer wrote twenty operas, most of which have not yet received their scenic embodiment. His opera buffa written on the libretto by Carlo Goldoni 'Il nodo della luna' has become one of the most popular works staged in opera houses. 
The plot of the opera “Il nodo della luna” is associated with one of the most famous hoaxes of the New Time - the discovery of the Moon. The composer finely combines fiction and reality, humor and sublime feelings of characters. This diversity caused interest of Elizaveta Korneeva in the process of choosing the musical compositions for this production.
“I ask the artists not to talk about love,” the young director admits. - Our performance is about wedding, marriage, family relations. Marriages are different and not always love is the basis of them. This may be a formal legal act, or a person may enter into family relationships because of the fear of being alone. I wanted to depict in the play the marriage which is not about love... ”.

Music: Joseph Haydn 
Libretto: Carlo Goldoni 
Musical Director and Conductor: Artem Makarov  
Director: Elizaveta Korneeva 
Production Designer: Ekaterina Ageniy 
Choirmaster: Alexander Alekseev 
Lighting Designer: Serdar Charyev 

Cast: 
Ecclitico – Vladimir Orfeev 
Buonafede – Vladimir Kopytov 
Clarice – Elvira Alkina 
Flaminia – Dilyara Idrisova 
Lisetta – Regina Zvegintseva 
Ernesto – Yan Leyshe 
Cecco – Ilgiz Khakimov 

Synopsis: 
Act 1  
The greedy merchant Buonafede is delaying the marriage of his daughters in the hope of marrying off his daughters the rich bridegrooms. He does not endorse the desire of Flaminia and Clarice to marry their beloved Ernesto and Ecclitico. However, the latter learns about his passion for astronomy and housekeeper Lisette, which he uses for his own purposes. Ecclitico suggests to look at the latest invention of Buonafede, with which you can certainly see the Moon. The Character looks and sees two young kissing. Ecclitico announces that they are the inhabitants of the Moon, and Buonafede ignites a desire to visit this planet. Then, having persuaded Ernesto, his servant Cecco, daughters and Lisetta, the doctor offers the old man an elixir, which in a few minutes should transfer them to the Moon. Buonafede willingly agrees and Ecclitico gives to drink the elixir with soporific powder. 

Act 2 
The merchant awakens and believes that he is on the Moon. He is confused and does not know how to live on an alien planet. Ecclitico advises the Character to win the favor of the Moon emperor, fulfilling on the Moon the wishes of his daughters and Lisetta to marry the one they love. Buonefede agrees and asks the emperor to smuggle his daughters with Lisetta to the Moon, promising that he will not go against his will. Nevertheless, old man’s jealousy and stubbornness take over also on the Moon. At the last minute, he refuses to let his daughters to marry their beloved ones. The trick with interplanetary travel fails. The lovers have nothing left but to reveal the whole truth to Buonafede. The old man is ashamed, he got deceived. In order to keep the story of his “journey to the Moon” as a secret, he allows his daughters and Lisetta to marry those whom they wish for and the couples happily unite.

Start at:19.00
Running time:2.00
Age category:16+

1 november: "Faust". Production of the Saint Petersburg Chamber Opera.

In its thirtieth, jubilee, season, The St. Petersburg Chamber Opera for the first time turned to the works by Charles Gounod. In his modern, expressive version of the classical opera director Yuri Alexandrov deals with the philosophical issues of being, the man’s vocation, and the confrontation of hell and heaven, responding vividly and passionately to today's world events. 

Yuri Alexandrov about the production of Faust: "Over the past decades we have witnessed a lot of attempts to zombify people. Many world regimes have tried to subdue human mind and soul. This happened during the Communism period, and, to some extent, is happening now. Just look at today’s information wars. People around the world are brainwashed in various ways. The invasion in human consciousness, the attempt to create a new Frankenstein - that's what I see in the story of Faust. Obviously, this topic is very urgent and very important for me, so we will analyze it scrupulously. Gounod composed great music, and we took care of it. We did change the sequence of scenes in our performance. But this does not mean that the cut down the performance. In my version we emphasize all personal experiences of the characters. However, we are not trying to impose new personal qualities on the characters, we stick to the original."

CREDITS:
Music: Charles Gounod
Libretto: Jules Barbier
Michel Carré
after Johann Wolfgang von Goethe’s Faust, Part I
Production: Yuri Alexandrov
Conductor: Maxim Valkov
Set and Costume Designer: Vyacheslav Okunev
Lighting Designer: Irina Vtornikova
Directors: Tatyana Karpacheva
Natalia Chernikova
Darya Modzalevskaya
Musical Preparation: Yana Zubova
Chorus Master: Maria Gergel
Choreographer: Nadezhda Kalinina
Video-art: Daniil Bakalin

Start at:19.00
Running time:3.15
World premiere:March 19, 1859, Paris
Our premiere:May 27, 2017
Performed in French
Age category:18+