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Il ritorno d'Ulisse in patria

Music Claudio Monteverdi Text Giacomo Badoaro
→ Oper in einem Prolog und drei Akten

31. March 2023
Friday
11.00 - 14.30
1 intermission
31. March 2023
Friday
11.00 - 14.30
1 intermission
31. March 2023
Friday
11.00 - 14.30
1 intermission
Buy tickets
02. April 2023
Sunday
1 intermission
Pre-order tickets Werkeinführung 30 Minuten vor der Vorstellung im Gustav Mahler-Saal
04. April 2023
Tuesday
1 intermission
Pre-order tickets Werkeinführung 30 Minuten vor der Vorstellung im Gustav Mahler-Saal
08. April 2023
Saturday
1 intermission
Pre-order tickets Werkeinführung 30 Minuten vor der Vorstellung im Gustav Mahler-Saal
11. April 2023
Tuesday
1 intermission
Pre-order tickets Werkeinführung 30 Minuten vor der Vorstellung im Gustav Mahler-Saal
14. April 2023
Friday
1 intermission
Pre-order tickets Werkeinführung 30 Minuten vor der Vorstellung im Gustav Mahler-Saal

Cast 14.04.2023

Conductor Pablo Heras-Casado
Production Jossi Wieler Sergio Morabito
Bühne & Kostüme Anna Viebrock
Ko-Bühnenbildner Torsten Köpf
Video Tobias Dusche
Ulisse Georg Nigl
Penelope Kate Lindsey
Telemaco Josh Lovell
Eurimaco / Anfinomo Hiroshi Amako
Nettuno / Antinoo / Il Tempo Andrea Mastroni
Iro / L'umana fragilità 2 Jörg Schneider
Ericlea / L'umana fragilità 1 Helene Schneiderman
Eumete Robert Bartneck

Details

Plot: The plot transposes Homer's epic about Odysseus' return from the Trojan War to the stage of modern times - from the moment he is dropped off asleep on his home island of Ithaca. The action oscillates back and forth between Odysseus, who is taken in unrecognised by a swineherd in the guise of a beggar and initially only reveals his identity to his son, and the events surrounding Penelope. Penelope is being courted by three suitors and has been missing her husband for 20 years.


With Il ritorno d'Ulisse in patria, the Vienna State Opera completes its Monteverdi cycle opened in the past two seasons with L'incoronazione di Poppea and La favola di Orfeo. The relationship of the Ritorno to Vienna is a particularly close one, since the only surviving handwritten score by a copyist's hand was only identified in the 2nd half of the 19th century in the holdings of Leopold I's former bedchamber library; since the 2nd half of the 20th century, Monteverdi's authorship has been recognised beyond doubt. It could not be ascertained whether the copy of the score was expressly commissioned by the Habsburgs or acquired in Italy. Nor is there any indication that this score was used in connection with a performance.

The underlying concept of »recitar cantando«, i.e. »sung recitation«, implied the high literary standards that were set for the libretto poems.

The libretto theatricalizes cantos 13 to 23 of the Odyssey, that epic poem about the homecoming of King Odysseus of Ithaca from the Trojan War, written at the turn of the 8th to the 7th century B.C. and traditionally attributed to the Greek poet Homer, and focuses on the events on and around Ithaca, from the moment when the sleeping Ulisse is deposited on his home island by the friendly Phaeacians. The action shuttles back and forth between Ulisse, who is taken in unrecognized and in the guise of a beggar by the sowherd Eumete and initially reveals himself only to his son Telemaco, and the events at the residence, where Penelope, who has been missing her husband for 20 years, is courted by three suitors. In a further narrative strand, which in the reception has so far been reduced to "baroque booth magic", the god figures of the ancient pantheon Giove (Jupiter), Nettuno (Poseidon), Minerva (Athena) and Giunone (Juno) act. Their rivalries and strategies of assertion play a decisive role in the course of events and make it clear that it is above all also their war, which they have fought out by human representatives.