Vienna State Opera tickets 25 June 2027 - I Capuleti e i Montecchi | GoComGo.com

I Capuleti e i Montecchi

Vienna State Opera, Main Stage, Vienna, Austria
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7 PM
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US$ 114

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You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 2
Sung in: Italian

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Soprano: Lisette Oropesa (Giulietta)
Conductor: Gianluca Capuano
Mezzo-Soprano: Emily D`Angelo (Romeo)
Tenor: Ivan Ayon Rivas (Tebaldo)
Bass-Baritone: Marko Mimica (Lorenzo)
Bass: Matheus França (Capellio)
Choir: Vienna State Opera Chorus
Creators
Composer: Vincenzo Bellini
Librettist: Felice Romani
Director: Tatjana Gürbaca
Overview

Two young people from feuding families love each other. But fate does not want them to be happily united.

Romeo and Giulietta are already separated. While he still clings to the illusion of a happy future together, she chooses family honor and is already facing her death. The enmity between the Capuleti and Montecchi families is intensified by the historically real conflict between the Guelphs loyal to the Pope and the Ghibellines loyal to the Emperor in 13th century Italy. The tragic outcome of the drama is inevitable.

"Bellini is the inventor of a completely new musical technique: the 'lunga lunga cantilena' ('long, long melody'), which was later to become Wagner's 'infinite melody' and the basis of his dramaturgical thinking. Bellini was taken as a model for this invention by composers such as Chopin and Wagner. I Capuleti e i Montecchi offers us the quintessence of the composer's melodic inspiration, with some immortal melodies that immediately became extraordinarily famous. The opera represents the very founding moment of the so-called 'bel canto' - a term coined in the second half of the 19th century to express nostalgia for that glorious moment in Italian music." (Gianluca Capuano)

With I Capuleti e i Montecchi, Bellini finally established himself as one of Italy's leading early Romantic composers, alongside Gioachino Rossini and Gaetano Donizetti. "My style is now heard in the most important theaters in the world ... and with the greatest acclaim," he noted in the same month of the premiere.

Musically, the new production of I Capuleti e i Montecchi at the Vienna State Opera in 1977 set new standards in the reception tradition of the work in the 20th century, particularly through KS Agnes Baltsa's interpretation of Romeo. Due to the large number of performances of I Capuleti e i Montecchi since the 1970s, the work is once again one of the most important in the bel canto repertoire today.

A Co-production with the Dutch National Opera

History
Premiere of this production: 11 March 1830, Teatro La Fenice, Venice

I Capuleti e i Montecchi (The Capulets and the Montagues) is an Italian opera (Tragedia lirica) in two acts by Vincenzo Bellini. The libretto by Felice Romani was a reworking of the story of Romeo and Juliet for an opera by Nicola Vaccai called Giulietta e Romeo and based on the play of the same name by Luigi Scevola written in 1818, thus an Italian source rather than taken directly from William Shakespeare.

Synopsis

In this version of the story the Capuleti and Montecchi are rival political factions (Guelph and Ghibelline respectively) rather than Shakespeare's "two households, both alike in dignity". Capellio is the father of Giulietta (Juliet) and the leader of the Capuleti. Giulietta is betrothed to Tebaldo (Tybalt), however she has already met and fallen in love with Romeo, leader of the Montecchi (Montagues). This is a secret to all but Lorenzo (Lawrence), her doctor and confidant. Complicating matters, Romeo has inadvertently killed the son of Capellio (Giulietta's brother) in battle.

Place: around the palace of Capellio (Capulet) in Verona
Time: 13th century
Sinfonia

Act 1

Scene 1: The Palace

Capellio and Tebaldo address their followers advising rejection of an offer of peace to be brought by an envoy from Romeo, the man who had killed Capellio's son. Tebaldo states that he will avenge the killing to celebrate his marriage to Giulietta: (Cavatina: È serbata a questo acciaro / "And reserved for this sword / is the vengeance of your blood") and he urges Capellio to hasten the moment when he may marry Giulietta and then avenge Capellio, who wants the marriage to take place immediately, brushing aside the objections of Lorenzo that Giulietta is ill with a fever. Tebaldo proclaims his love for Giulietta: Sì: M'Abbraccia / "I love her so much / She is so dear to me". Capellio's men urge him on and arrangements are made to have the wedding take place that day.

While the men proclaim their hatred of the Montecchi, Romeo enters in the guise of a Montecchi envoy, offering peace to be guaranteed by the marriage of Romeo and Giulietta. He explains that Romeo regrets the death of Capellio's son (Cavatina: Ascolta: Se Romeo t'uccise un figlio / "Listen: If Romeo killed your son / he brought him death in battle / And you must blame fate"), and offers to take his place as a second son for the old man. Capellio indicates that Tebaldo has already taken on that role and—together with all his men—rejects all idea of peace: "War! War", the men proclaim. Romeo accepts their challenge of war: (Cabaletta: La tremenda ultrice spada/ "Romeo will prepare to brandish the dread avenging sword / Romeo accepts your challenge of war.)

Scene 2: Giulietta's room

Giulietta enters proclaiming her frustration against all the wedding preparations which she sees about her. Recitative: "I burn, a fire consumes me wholly. In vain do I seek solace from the winds... Where are you Romeo?". Cavatina: Oh! quante volte / "Oh how many times do I weep and beg heaven for you". Lorenzo enters, explaining that he has arranged for Romeo to come to her by a secret door and, when Romeo enters, he tries to persuade Giulietta to escape with him. Duetto: Romeo: Sì, fuggire: a noi non resta / "Yes, flee, for us there is no other escape"; he demands: "What power is greater for you than love?", but she resists in the name of duty, law, and honour, declaring that she would prefer to die of a broken heart. Romeo is distraught: Cantabile: Romeo: Ah crudel, d'onor ragioni / "Oh cruel one, you speak of honour when you were stolen from me?" Giulietta responds "Ah what more you ask of me?", then, in a tempo di mezzo in which each expresses his/her conflicting emotions, the situation becomes more and more impossible for them both.

The sounds of wedding preparations are heard: she urges him to flee; he declares that he will stay and, in a final cabaletta in which Romeo pleads "Come, ah Come! Rely on me", Giulietta continues to resist. Each leaves.

Scene 3: Another part of the palace

The Capuleti are celebrating the forthcoming marriage. All those assembled join in. Romeo enters in disguise and tells Lorenzo, who immediately recognises him, that he is awaiting the support of his soldiers, one thousand of whom are assembled dressed as Ghibelines and who are intent on preventing the wedding. Lorenzo remonstrates with him, but suddenly, the armed attack by the Montecchi takes place as they surge into the palace, Romeo with them. Giulietta is alone, lamenting the state of affairs, Tace il fragor / "The tumult has ended". Then she sees Romeo, who has appeared, and again he urges her to run away with him: "I ask this in the name of promised love", he declares. Capellio, Tebaldo and the Ghibelines discover them, and believe that Romeo is still the Montecchi envoy. As Giulietta tries to shield him from her father, Romeo proudly tells them his true name. The Montecchi enter to protect him and, in a concerted finale involving all from both factions, the lovers are separated by their family members, finally proclaiming: Al furor che si ridesta / "If all hope of ever seeing each other again in life / this will not be the last farewell". Capellio, Tebaldo, and Lorenzo become part of the quintet finale, as the ranks of the supporters of both sides join in the swell.

Act 2

Scene 1: Another part of the Palace

Introduced by a solo for cello, Giulietta awaits news of the fighting. Lorenzo enters and immediately tells her that Romeo lives, but she will soon be taken away to Tebaldo's castle. He offers a solution: that she must take a sleeping potion which will make it appear that she has died. She will then be taken to her family's tomb where he will arrange for Romeo and himself to be present when she awakes. In a state of indecision, she contemplates her options. (Aria: Morte io non temo, il sai / "You know that I do not fear death, / I have always asked death of you...") and she expresses doubts while Lorenzo urges her to take the potion, given that her father is about to come into the room. Taking the bottle, she declares that "only death can wrest me from my cruel father".

With his followers, Capellio comes to order her to leave with Tebaldo at dawn. Her ladies beg her father to be kinder towards her. Proclaiming that she is close to death, she begs her father's forgiveness: Cabaletta: Ah! non poss'io partire / "Ah, I cannot leave without your forgiveness.....Let your anger turn just once to peace", but Capellio rejects her and orders her to her room. He then instructs his men to keep watch on Lorenzo of whom he is suspicious; they are ordered not to allow Lorenzo to have contact with anyone.

Scene 2: The grounds of the palace

An orchestral introduction precedes Romeo's entrance and introduces what Weinstock describes as "his bitter recitative", Deserto è il loco / "This place is abandoned", in which he laments Lorenzo's apparent forgetfulness in failing to meet him as planned. He then hears the noise of someone entering. It is Tebaldo, and the two men begin an angry duet (Tebaldo: Stolto! a un sol mio grido / "With one cry a thousand men will arrive". Romeo: "I scorn you. You will wish the alps and the sea stood between us"). As they are about to begin fighting, the sound of a funeral procession is heard (Pace alla tua bell'anima). They stop and listen, only then realising that it is a procession for Giulietta. In a cabaletta finale, the rivals are united in remorse, asking each other for death as they continue to fight.

Scene 3: The tombs of the Capuleti

Along with his Montecchi followers, Romeo enters the tomb of the Capuleti. The followers mourn Giulietta's death. At her tomb and in order to bid her farewell, Romeo asks for it to be opened. He also asks that the Montecchi leave him alone with Giulietta: Romanza: Deh! tu, bell'anima / "Alas! You, fair soul / Rising up to heaven / turn to me, bear me with you". Realising his only course of action will be death, he swallows poison and, lying down beside her, he hears a sigh, then the sound of her voice. Giulietta wakes up to find that Romeo knew nothing of her simulated death and had been unaware of Lorenzo's plan. Urging him to leave with her, Giulietta gets up but Romeo states that he must remain there forever, explaining that he has already acted to end his life. In a final cabaletta, the couple clings to each other. Then he dies and Giulietta, unable to live on without him, falls dead onto his body. The Capuleti and Montecchi rush in to discover the dead lovers, with Capellio demanding who is responsible: "You, ruthless man", they all proclaim.

Venue Info

Vienna State Opera - Vienna
Location   Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 2
Sung in: Italian
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