Actor: Luca Pisaroni
Birthday: 1975-06-08
Known for
The Metropolitan Opera: La Cenerentola
Rossini’s charming take on the Cinderella story features a brilliant cast, led by bel canto stars Joyce DiDonato in the title role and Juan Diego Flórez as her Prince Charming. Alessandro Corbelli delivers a comic tour de force as Don Magnifico, Cinderella’s stepfather. Pietro Spagnoli is Dandini, the Prince’s valet, who, disguised as his master, puts the prospective brides to the text, and Luca Pisaroni is the philosopher Alidoro, who takes the place of the fairy godmother. Met Principal Conductor Fabio Luisi leads Cesare Lievi’s whimsical production.
Rossini’s charming take on the Cinderella story features a brilliant cast, led by bel canto stars Joyce DiDonato in the title role and Juan Diego Flórez as her Prince Charming. Alessandro Corbelli delivers a comic tour de force as Don Magnifico, Cinderella’s stepfather. Pietro Spagnoli is Dandini, the Prince’s valet, who, disguised as his master, puts the prospective brides to the text, and Luca Pisaroni is the philosopher Alidoro, who takes the place of the fairy godmother. Met Principal Conductor Fabio Luisi leads Cesare Lievi’s whimsical production.
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Don Giovanni
Don Giovanni's list of romantic conquests reaches into the hundreds. But his reputation as a lothario puts him in danger as the women he's betrayed -- and their suitors -- begin to seek revenge. A modern-day setting proves the timeless nature of Mozart's popular opera, performed with the Vienna Philharmonic as part of an epic presentation of all 22 of the composer's stage works at the 2006 Salzburg Festival, in honor of his 250th birthday.
Don Giovanni's list of romantic conquests reaches into the hundreds. But his reputation as a lothario puts him in danger as the women he's betrayed -- and their suitors -- begin to seek revenge. A modern-day setting proves the timeless nature of Mozart's popular opera, performed with the Vienna Philharmonic as part of an epic presentation of all 22 of the composer's stage works at the 2006 Salzburg Festival, in honor of his 250th birthday.
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Così fan tutte
Mozart's genius in setting to music da Ponte's comic play of love, infidelity and forgiveness marks COSI FAN TUTTE as one of the great works of art from the Age of Enlightenment. Nicholas Hytner's beautiful new production, with its sure touch and theatrical know-how, lives up to its promise to be "shockingly traditional" as Iván Fischer teases artful performances from an outstanding international cast of convincing young lovers.
Mozart's genius in setting to music da Ponte's comic play of love, infidelity and forgiveness marks COSI FAN TUTTE as one of the great works of art from the Age of Enlightenment. Nicholas Hytner's beautiful new production, with its sure touch and theatrical know-how, lives up to its promise to be "shockingly traditional" as Iván Fischer teases artful performances from an outstanding international cast of convincing young lovers.
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7.5
Mozart: The Marriage of Figaro (Salzburg Festival)
The Salzburg Festival presents one of Wolfgang Amadeus Mozart's masterpieces: the opera Le Nozze di Figaro, in a new production staged by Sven-Eric Bechtolf and conducted by Dan Ettinger. Set-List: Wolfgang Amadeus Mozart, Le nozze di Figaro, K. 492.
The Salzburg Festival presents one of Wolfgang Amadeus Mozart's masterpieces: the opera Le Nozze di Figaro, in a new production staged by Sven-Eric Bechtolf and conducted by Dan Ettinger. Set-List: Wolfgang Amadeus Mozart, Le nozze di Figaro, K. 492.
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7.0
The Metropolitan Opera: Don Giovanni
Imbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. The opera offers a rare opportunity for two baritones to star alongside one another as the title Lothario and his faithful yet conflicted servant, Leporello, as well as three memorable female roles—multifaceted women who both suffer the Don’s abuses and plot their revenge.
Imbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. The opera offers a rare opportunity for two baritones to star alongside one another as the title Lothario and his faithful yet conflicted servant, Leporello, as well as three memorable female roles—multifaceted women who both suffer the Don’s abuses and plot their revenge.
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Les Noces de Figaro, Opéra Garnier de Paris
The Marriage of Figaro is one of the most emblematic operas in the repertoire. Brahms spoke of it as a “miracle” and the Countess' complaint still resonates today as one of the most heartbreaking musical pages. It was by resuming Beaumarchais' comedy, which caused a scandal in Parisian society, that Mozart and his librettist Da Ponte began their first collaboration. The play was banned by Joseph II in 1785 at the Vienna Theater. Is it because it exposed too much to the forefront the contradictions of an already faltering regime, ready to collapse with the French Revolution? Netia Jones preserves the very essence of Beaumarchais' play by questioning human relationships with humor but not without mischief, in a production which confuses reality and fiction to the point of asking, like the Count: "Are we playing a comedy?" »
The Marriage of Figaro is one of the most emblematic operas in the repertoire. Brahms spoke of it as a “miracle” and the Countess' complaint still resonates today as one of the most heartbreaking musical pages. It was by resuming Beaumarchais' comedy, which caused a scandal in Parisian society, that Mozart and his librettist Da Ponte began their first collaboration. The play was banned by Joseph II in 1785 at the Vienna Theater. Is it because it exposed too much to the forefront the contradictions of an already faltering regime, ready to collapse with the French Revolution? Netia Jones preserves the very essence of Beaumarchais' play by questioning human relationships with humor but not without mischief, in a production which confuses reality and fiction to the point of asking, like the Count: "Are we playing a comedy?" »
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10.0
