Event Information
The Metropolitan Opera Live: Adriana Lecouvreur
Stage on Screen
Saturday, Jan 12, 2019 11:00 AM
Soprano Anna Netrebko joins the ranks of Renata Tebaldi, Montserrat Caballé, and Renata Scotto, taking on—for the first time at the Met—the title role of the real-life French actress who dazzled 18th-century audiences with her on-and offstage passion
Event Pricing
Admission MET Live Senior - $18.00
Admission MET Live Adult - $20.00
Admission MET Live Student - $16.00

 
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Soprano Anna Netrebko joins the ranks of Renata Tebaldi, Montserrat Caballé, and Renata Scotto, taking on—for the first time at the Met—the title role of the real-life French actress who dazzled 18th-century audiences with her on-and offstage passion. The soprano is joined by tenor Piotr Beczala as Adriana's lover, Maurizio. The principal cast also features mezzo-soprano Anita Rachvelishvili and baritone Ambrogio Maestri. Gianandrea Noseda conducts. Sir David McVicar's staging, which sets the action in a working replica of a Baroque theater, premiered at the Royal Opera House in London, where the Guardian praised the "elegant production, sumptuously designed ... The spectacle guarantees a good night out."

World Premiere: Teatro Lirico, Milan, 1902. Adriana Lecouvreur

 occupies a unique place in the repertory: largely dismissed by experts from its premiere to the present day yet cherished by its fans for the dramatic possibilities provided by the lead roles. The opera is a deft combination of frank emotionalism and flowing lyricism, with pseudo-historical spectacle. Based on a play by Eugène Scribe, the story was inspired by the real-life intrigues of famed actress Adrienne Lecouvreur and the legendary soldier—and lover—Maurice of Saxony. Cilea's operatic retelling quickly became a favorite of charismatic soloists. The title character in particular is a quintessential diva role.

Adriana Lecouvreur unfolds in Paris in 1730. The setting reflects a nostalgia for the Rococo era that swept over Europe and the Americas around the turn of the last century when Cilea was composing, evident in other operas (for instance, Puccini’s 

Manon Lescaut) and in architecture.

“A rip-roaring, old-fashioned diva show”

—Wall Street Journal


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Financial Times