Teatro Regio di Parma 6 October 2019 - I due Foscari | GoComGo.com

I due Foscari

Teatro Regio di Parma, Parma, Italy
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3:30 PM
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Important Info
Type: Opera
City: Parma, Italy
Starts at: 15:30
Acts: 3
Intervals: 1
Duration:

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Overview

Tragedia lirica in tre atti su libretto di Francesco Maria Piave, da Byron

Music
GIUSEPPE VERDI
Critical edition by Andreas Giger
The University of Chicago Press, Chicago e Casa Ricordi, Milano

History
Premiere of this production: 03 November 1844, Rome

I due Foscari (The Two Foscari) is an opera in three acts by Giuseppe Verdi to an Italian Francesco Maria Piave, based on a historical play, The Two Foscari, Lord Byron.

Synopsis

Place: Venice
Time: 1457

Act 1
Scene 1: Outside the Council Chamber of the Doge's Palace

Members of the Council of Ten are waiting to enter the Council Chamber to try the case of Jacopo Foscari, the son of the Doge, who has been accused of murder. Upon the arrival of Loredano (Jacopo's sworn enemy) and his friend Barbarigo, they announce that the Doge has already entered the Chamber. They all enter the Chamber.

Having recently returned from exile, Jacopo is brought from the prison and expresses his love at seeing Venice again: Dal più remoto esilio / "From the most distant place of exile". When summoned to enter the Chamber and told that he can expect the Council to be merciful, Jacopo explodes in rage: Odio solo ed odio atroce / "Only hatred, cruel hatred, is locked within their breasts". He enters the Chamber.

Scene 2: A hall in the palace

Lucrezia Contarini, Jacopo's wife, learns from her ladies in waiting that the trial is proceeding in the Council Chamber. She quickly demands to see the Doge, Jacopo's father, but is told that she should pray for Jacopo's freedom. Angrily, she implores heaven to be merciful: Tu al cui sguardo onnipossente / "Thou beneath whose almighty glance all men rejoice or weep". Her friend Pisana enters in tears; she relays the news that Jacopo has been sentenced to further exile and this provokes another furious outburst from Lucrezia: La clemenza! s'aggiunge lo scherno! / "Their mercy? Now they add insult!". Pisana and the ladies beg her to trust in the mercy of God.

Scene 3: Outside the Council Chamber

The Council of Ten leaves the Chamber proclaiming that the evidence was clearly sufficient to convict Jacopo and that their actions will be seen as just and fair.

Scene 4: The Doge's private room

The Doge, Francesco Foscari, enters and wearily sits down. He expresses anguish at what has happened to his son but, as his father, feels there is nothing he can do to save him: O vecchio cor che batte / "Oh ancient heart that beats in my breast...". In tears, Lucrezia comes in and, when she tries to decry the actions of the Council, Francesco reminds her of his position as upholder of the law of Venice. Angrily, she denounces the law as being filled only with hatred and vengeance and demands that he return her husband to her: Tu pur lo sai che giudice / "You know it all too well". The scene ends with the Doge lamenting the limits of his power and the conflicts between being both ruler and father, while Lucrezia continues to demand his help. The sight of his tears gives her some hope.

Act 2
Scene 1: The state prison

Jacopo is alone in prison and laments his fate. He imagines that he is being attacked by Carmagnola, a famous condottiere (soldier) who was executed in Venice (Non maledirmi o prode / "Mighty warrior, do not curse me", and he faints. Still delirious, he finds Lucrezia is with him; she tells him of the Council's decision and the punishment of further exile. However, she tries to keep some hope alive and promises to join him in exile if need be.

The Doge arrives and declares that in spite of the fact that he was forced to act severely, he loves his son. Jacopo is comforted – Nel tuo paterno amplesso / "In a father's embrace my sorrow is stilled" – but is further disturbed by the Doge's claim that his duty must override his love of his son.

Loredano arrives to announce the official verdict and to prepare Jacopo for his departure. He is contemptuous of the pleas of the Foscari and orders his men to remove Jacopo from his cell. In a final trio, Jacopo, the Doge, and Lucrezia express their conflicting emotions and, as Jacopo is taken away, father and daughter-in-law leave together.

Scene 2: The Council Chamber

Loredano is adamant: there shall be no mercy and Lucrezia and her children will not be allowed to accompany Jacopo on his banishment. The Doge laments his inability to help, acting, as he must, in the role of Doge before that of father. Lucrezia enters with her two children. Jacopo embraces them while Lucrezia pleads with the councilors to no avail. Jacopo is taken away.

Act 3
Scene 1: The Piazetta of San Marco

While the people who have gathered express their joy at being together, Loredano and Barbarigo wait for the galley that will take Jacopo away to exile. He is led out, followed by his wife and Pisana, and expresses his feelings for Lucrezia: All'infelice veglio / "Unhappy woman, unhappy through me alone". Together, in a huge choral number, Jacopo, Lucrezia, Pisano, Barbarigo, Loredano, and the people of Venice each express their feelings. Jacopo begins: O padre, figli, sposa / "Father, children, wife, I bid you a last farewell", and the scene ends with Jacopo escorted onto the galley while Lucrezia faints in Pisana's arms.

Scene 2: The Doge's Palace

The grief-stricken Doge expresses his feelings – Egli ora parte! ("Now he is going!") – and pictures himself alone in his old age. Barbarigo brings him proof that his son was in fact innocent, while Lucrezia comes in to announce Jacopo's death: Più non vive... l'innocente / "He is no more... the innocent". As she leaves, a servant announces that the Council of Ten wish to meet with the Doge.

The Council, through its spokesman Loredano, announces that it has decided that Francesco, due to age, should give up his position as Doge. Angrily, he denounces their decision: Questa dunque è l'iniqua mercede / "This then is the unjust reward...". He asks for his daughter-in-law to be brought in and gradually lays down the trappings of his office. When Lucrezia enters and addresses him with the familiar title "Prince", he declares "Prince! That I was; now I am no longer." Just then, the bell of San Marco is heard announcing that a successor has been chosen. As it tolls a second time, Francesco recognizes that the end has come: Quel bronzo feral / "What fatal knell". As the bell tolls again, he dies; Loredano notes that "I am paid."

Place: Venice
Time: 1457

Act 1
Scene 1: Outside the Council Chamber of the Doge's Palace

Members of the Council of Ten are waiting to enter the Council Chamber to try the case of Jacopo Foscari, the son of the Doge, who has been accused of murder. Upon the arrival of Loredano (Jacopo's sworn enemy) and his friend Barbarigo, they announce that the Doge has already entered the Chamber. They all enter the Chamber.

Having recently returned from exile, Jacopo is brought from the prison and expresses his love at seeing Venice again: Dal più remoto esilio / "From the most distant place of exile". When summoned to enter the Chamber and told that he can expect the Council to be merciful, Jacopo explodes in rage: Odio solo ed odio atroce / "Only hatred, cruel hatred, is locked within their breasts". He enters the Chamber.

Scene 2: A hall in the palace

Lucrezia Contarini, Jacopo's wife, learns from her ladies in waiting that the trial is proceeding in the Council Chamber. She quickly demands to see the Doge, Jacopo's father, but is told that she should pray for Jacopo's freedom. Angrily, she implores heaven to be merciful: Tu al cui sguardo onnipossente / "Thou beneath whose almighty glance all men rejoice or weep". Her friend Pisana enters in tears; she relays the news that Jacopo has been sentenced to further exile and this provokes another furious outburst from Lucrezia: La clemenza! s'aggiunge lo scherno! / "Their mercy? Now they add insult!". Pisana and the ladies beg her to trust in the mercy of God.

Scene 3: Outside the Council Chamber

The Council of Ten leaves the Chamber proclaiming that the evidence was clearly sufficient to convict Jacopo and that their actions will be seen as just and fair.

Scene 4: The Doge's private room

The Doge, Francesco Foscari, enters and wearily sits down. He expresses anguish at what has happened to his son but, as his father, feels there is nothing he can do to save him: O vecchio cor che batte / "Oh ancient heart that beats in my breast...". In tears, Lucrezia comes in and, when she tries to decry the actions of the Council, Francesco reminds her of his position as upholder of the law of Venice. Angrily, she denounces the law as being filled only with hatred and vengeance and demands that he return her husband to her: Tu pur lo sai che giudice / "You know it all too well". The scene ends with the Doge lamenting the limits of his power and the conflicts between being both ruler and father, while Lucrezia continues to demand his help. The sight of his tears gives her some hope.

Act 2

Scene 1: The state prison

Jacopo is alone in prison and laments his fate. He imagines that he is being attacked by Carmagnola, a famous condottiere (soldier) who was executed in Venice (Non maledirmi o prode / "Mighty warrior, do not curse me", and he faints. Still delirious, he finds Lucrezia is with him; she tells him of the Council's decision and the punishment of further exile. However, she tries to keep some hope alive and promises to join him in exile if need be.

The Doge arrives and declares that in spite of the fact that he was forced to act severely, he loves his son. Jacopo is comforted – Nel tuo paterno amplesso / "In a father's embrace my sorrow is stilled" – but is further disturbed by the Doge's claim that his duty must override his love of his son.

Loredano arrives to announce the official verdict and to prepare Jacopo for his departure. He is contemptuous of the pleas of the Foscari and orders his men to remove Jacopo from his cell. In a final trio, Jacopo, the Doge, and Lucrezia express their conflicting emotions and, as Jacopo is taken away, father and daughter-in-law leave together.

Scene 2: The Council Chamber

Loredano is adamant: there shall be no mercy and Lucrezia and her children will not be allowed to accompany Jacopo on his banishment. The Doge laments his inability to help, acting, as he must, in the role of Doge before that of father. Lucrezia enters with her two children. Jacopo embraces them while Lucrezia pleads with the councilors to no avail. Jacopo is taken away.

Act 3
Scene 1: The Piazetta of San Marco

While the people who have gathered express their joy at being together, Loredano and Barbarigo wait for the galley that will take Jacopo away to exile. He is led out, followed by his wife and Pisana, and expresses his feelings for Lucrezia: All'infelice veglio / "Unhappy woman, unhappy through me alone". Together, in a huge choral number, Jacopo, Lucrezia, Pisana, Barbarigo, Loredano, and the people of Venice each express their feelings. Jacopo begins: O padre, figli, sposa / "Father, children, wife, I bid you a last farewell", and the scene ends with Jacopo escorted onto the galley while Lucrezia faints in Pisana's arms.

Scene 2: The Doge's Palace

The grief-stricken Doge expresses his feelings – Egli ora parte! ("Now he is going!") – and pictures himself alone in his old age. Barbarigo brings him proof that his son was in fact innocent, while Lucrezia comes in to announce Jacopo's death: Più non vive... l'innocente / "He is no more... the innocent". As she leaves, a servant announces that the Council of Ten wish to meet with the Doge.

The Council, through its spokesman Loredano, announces that it has decided that Francesco, due to age, should give up his position as Doge. Angrily, he denounces their decision: Questa dunque è l'iniqua mercede / "This then is the unjust reward...". He asks for his daughter-in-law to be brought in and gradually lays down the trappings of his office. When Lucrezia enters and addresses him with the familiar title "Prince", he declares "Prince! That I was; now I am no longer." Just then, the bell of San Marco is heard announcing that a successor has been chosen. As it tolls a second time, Francesco recognizes that the end has come: Quel bronzo feral / "What fatal knell". As the bell tolls again, he dies; Loredano notes that "I am paid."

Venue Info

Teatro Regio di Parma - Parma
Location   Str. G. Garibaldi, 16 / a

Teatro Regio di Parma, originally constructed as the Nuovo Teatro Ducale (New Ducal Theatre), is an opera house and opera company in Parma, Italy.

Replacing an obsolete house, the new Ducale achieved prominence in the years after 1829, and especially so after the composer Giuseppe Verdi, who was born near Busseto, some thirty kilometres away, had achieved fame. Also well known in Parma was the conductor Arturo Toscanini, born there in 1867.

As has been noted by Lee Marshall, "while not as well known as La Scala in Milan or La Fenice in Venice, the city’s Teatro Regio....is considered by opera buffs to be one of the true homes of the great Italian tradition, and the well-informed audience is famous for giving voice to its approval or disapproval – not just from the gallery."

The 1,400-seat auditorium, with four tiers of boxes topped by a gallery, was inaugurated on 16 May 1829 when it presented the premiere of Vincenzo Bellini's Zaira, a production which was staged another seven times, although it did not prove to be popular with the Parma audiences. Initially Rossini had been invited to compose a work for the inauguration of the house, but he was too busy and so the task fell to Bellini. However, that inaugural season saw three Rossini operas staged, including Moïse et Pharaon, Semiramide, and Il barbiere di Siviglia.

Today, the company stages about four operas each season from mid January to April and, since 2003, it has presented an annual Verdi Festival each October.

Verdi and the Teatro Regio

Verdi, who was born and who grew up only 20 miles from Parma, was perhaps quite naturally soon adopted by the city as its native son, especially as his fame grew after the success of the 1840 Nabucco. His operas have had a special place in the Regio's programming after 17 April 1843, when Verdi came to direct his Nabucco. Since that time, the Regio has staged every one of his operas, including adaptations of original versions such as I Lombardi of 1843 which became Jérusalem for Paris in 1847 or the 1847 Macbeth which was revised in 1865.

The seasons surrounding the centennial of his birth in 1813 and the 50th anniversary of his death in 1951 were devoted solely to his operas, and between 1829 and 1979, Verdi, Donizetti, and Bellini were the most frequently staged composers, with Verdi topping the list with five of his operas, the most frequent of which was Aida with 177 performances over the 150-year period. The 2001 centennial of the composer's death resulted in a year-long celebration beginning with the Requiem and including six operas.

The "bicententario" year of 2013 prompted special celebrations which included concerts by the La Scala Orchestra, under Riccardo Chailly, and the Orchestre National de France under Daniele Gatti (which also gave the Requiem). Providing insights into working with the Teatro and with Verdi's music were singers Carlo Bergonzi, Mirella Freni, and Raina Kabaivanska as well as conductor Bruno Bartoletti. A concert by the Filarmonica Arturo Toscanini on 10 October was something of a highlight of the celebrations. It included a concert version of act 2 of Aida. Other complete operas given during the month included I masnadieri, Falstaff, and Simon Boccanegra.

Festival Verdi

In addition to its regular season, from the 1990s the company began to mount a Festival Verdi. Beginning in 2003, the celebration known as Buon Compleanno Maestro Verdi ("Happy Birthday, Maestro Verdi") has been held each 10 October with a concert of excepts from his works and this is coupled with the month-long festival.

Along with the Verdi operas presented as part of its regular season since 2003/04, the aim of the Festival Verdi has been to present every one of the composer's operas by the bi-centennial year of 2013. However, while this was not achieved, very few operas remain to be staged (depending upon whether different versions are planned). The Festival has included associated discussions, orchestral concerts, and other relevant presentations.

Important Info
Type: Opera
City: Parma, Italy
Starts at: 15:30
Acts: 3
Intervals: 1
Duration:
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