Music by
Massimiliano | Erwin Schrott | |
Carlo | Charles Castronovo | |
Francesco | Alfredo Daza | |
Amalia | Lisette Oropesa | |
Arminio | Kevin Conners | |
Moser | Roman Chabaranok | |
Rolla | Tansel Akzeybek |
Discover a Verdi composition that remains a hidden gem, I masnadieri. This opera begins with an intensity that grips you from the very first note. It's a fervent narrative, ablaze with emotions of love and hatred, depicting characters in a desperate search for an outlet for their overwhelming passions. The arias are so emotionally charged, they seem to burst at the seams.
A German Tale through Italian Opera
Verdi's creative genius transforms Friedrich Schiller's The Robbers into an Italian opera masterpiece. Characters undergo a cultural metamorphosis: Karl and Franz are reimagined as Carlo and Francesco. However, instead of battling societal wrongs as in Schiller's play, the opera delves into a complex family saga. This narrative is steeped in early loss, sibling rivalry, unfulfilled desires, and misinterpreted needs. Tactics of slander, blackmail, and violent confrontations are the tools of this deeply personal conflict.
Personalizing Political Struggle
In this opera, Verdi shifts the focus from the original political turmoil of the robbers to a personal plane, emphasizing that the true conflict lies within the individuals, not the era. I masnadieri was commissioned by Her Majesty’s Theater in London, marking Verdi's first opera composed for a theater outside Italy. This piece signifies a pivotal moment, concluding Verdi's early, strenuous years of composition. Alongside Macbeth, this opera hints at seismic shifts, with underlying tensions ready to erupt. This is mirrored in every note, from the solos to the iconic robber choirs.
A Chamber Play of Grand Scale
Johannes Erath brings his unique vision to this opera, previously acclaimed for his deep dive into the characters of Un ballo in maschera in Munich. He presents I masnadieri as a chamber play of extravagant dimensions, offering audiences a rich, immersive experience.
Amalia is Cuban‑American soprano Lisette Oropesa. She debuted in this role at La Scala in David McVicar’s aforementioned production. Her interpretation of the aria was spot on, initially sad and then brilliantly joyous in the cabaletta, with clean coloratura and brilliant high notes. Despite the poor staging and the confusing younger versions of Carlo, Francesco and Amalia that appear intermittently throughout, Oropesa managed to convey Amalia’s nobility and strength of character.— Ossama el Naggar • Concerto Net
Ahora bien, si alguien sobresalió en este excepcional reparto fue Lisette Oropesa. I masnadieri es una ópera, si no “rara”, sí muy infrecuente. En consecuencia, el personaje de Amalia no suele formar parte del gran canon de las sopranos. Pese a ello, Oropesa supo dar a esta parte un relieve hasta ahora inusual. ¿Logrará sacar a Amalia y a I masnadieri del relativo olvido en que se encuentran? Sería justo, pues su interpretación fue de una belleza excepcional. En primer lugar, debe hacerse mención del cálido timbre y, sobre todo, de los hermosos armónicos de su voz. El volumen es soprendentemente grande para una soprano lírica, incluso en el centro y en los graves, siempre bien audibles. Las agilidades surgieron con naturalidad y sin esfuerzo, el fraseo y la acentuación fueron modélicos. En todo el registro su interpretación fue limpia y sin tiranteces. En lo que toca a los aspectos puramente artísticos, se debe mencionar la versatilidad con la que expresó afectos muy diversos, sin que ello mermara la necesaria homogeneidad vocal y estilística. Pero todo esto es poco comparado con la indefinible seducción, el carisma de su voz y de su arte interpretativo, que logró arrebatar al público, quien la aplaudió frenética e interminablemente. Lisette Oropesa se encuentra tal vez en la cima de su carrera: con una trayectoria larga a sus espaldas, lo que le da experiencia y sabiduría, y todavía es lo bastante joven para mantener la frescura de la voz y hacer creíbles sus personajes. Ojalá siga en esta cumbre durante mucho tiempo.Now then, if anyone stood out in this exceptional cast, it was Lisette Oropesa. I masnadieri is an opera that, if not exactly “rare,” is certainly very infrequently performed. As a result, the character of Amalia is not typically part of the main soprano canon. Despite this, Oropesa managed to give this role an impact that is, until now, quite unusual. Will she succeed in lifting Amalia and I masnadieri out of the relative obscurity in which they remain? It would be well deserved, as her performance was of exceptional beauty. First of all, one must mention the warmth of her timbre and, above all, the beautiful harmonics of her voice. The volume is surprisingly large for a lyric soprano, even in the middle and lower registers, which were always clearly audible. The coloratura passages emerged naturally and effortlessly, and her phrasing and articulation were exemplary. Across her entire range, her singing was clean and free of strain. As for the purely artistic aspects, her versatility in expressing a wide range of emotions deserves mention—without ever compromising the necessary vocal and stylistic consistency. But all of this pales in comparison to the indefinable allure, the charisma of her voice and her interpretive artistry, which utterly captivated the audience, who responded with frenzied and unending applause. Lisette Oropesa may well be at the peak of her career: with a long path already behind her, giving her experience and wisdom, and still young enough to maintain the freshness of her voice and the credibility of her characters. May she remain at this summit for a long time to come.— J. G. Messerschmidt • Pro Opera
Die einzige weibliche Rolle ist die Prima inter pares. Amalia wird von Lisette Oropesa einfach göttlich dargestellt. Ihr Gesang ist von purer Schönheit, empfindsam, variantenreich, sonor in den Tiefen, teils sanft flirrend, glockenklar in den Höhen, kontrolliert und hochemotional. Die gefeierte Sopranistin veredelt jede Szene, in der sie auftritt – egal ob solo, im Duett, Quartett oder im Zusammenklang mit dem Chor – mit einem zusätzlichen Glanz. Bravissima!The only female role is the Prima interpreter. Amalia is portrayed simply divine by Lisette Oropesa. Her singing is of pure beauty, sensitive, varied, resonant in the depths, partly gently trembling, bell-like in the highs, controlled and highly emotional. The celebrated soprano enriches every scene in which she appears - whether solo, in a duet, quartet, or in harmony with the choir - with an additional luster. Bravissima!— Petra Spelzhaus • Online Merker
Lo importante aquí es el canto, y Lisette Oropesa cantaba la parte de Amalia, papel compuesto por Verdi para la soprano Jenny Lind, el conocido como “el ruiseñor sueco”. Oropesa mostró su maestría técnica a lo largo de toda la representación, sus trinos bien emitidos y sus detalles en regular el sonido. Es un papel comprometido, y la soprano sabe sacar adelante todos los pasajes de dificultad como las ágiles cavalette con donosura y más que amplia suficiencia.What matters here is the singing, and Lisette Oropesa performed the role of Amalia, a part Verdi composed for the soprano Jenny Lind, known as “the Swedish nightingale.” Oropesa displayed her technical mastery throughout the entire performance, her trills were well executed, and her control of dynamics was detailed. It’s a demanding role, and the soprano skillfully handled all the difficult passages, including the agile cavalette, with grace and more than ample ability.— Javier Pérez • Platea Magazine
Lisette has given 16 performances as Amalia.