Adriana Lecouvreur
Opera
Maria Callas...and asked, "Why didn't you tell me Maria's was the best?" Callas visited Tebaldi after a performance of Adriana Lecouvreur at the Met in the late 1960s, and the two were reunited. In 1978, Tebaldi spoke warmly of her late colleague and... In this article: Maria Callas, Renata Tebaldi, Elvira de Hidalgo, La Scala, Aristotle Onassis, Michael Scott, and Pasta |
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Wikipedia | January 08, 2009
Giuseppe Campora
...his audience was much talked about during his lifetime. Campora enjoyed successes in all the major theatres of Italy (including Maurizio in Adriana Lecouvreur with Magda Olivero at the Teatro alla Scala, 1958), as well as at the...
In this article: Giuseppe Campora, Renata Tebaldi, New York City Opera, Tosca, Simon Boccanegra, Lucia di Lammermoor, Manon, La traviata, Madama Butterfly, and La Gioconda
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Fiorenza Cossotto
...at the Met included Amneris, Eboli, Adalgisa, Santuzza, Azucena, Dalila, Carmen (only on tour and in the park concerts), Principessa (Adriana Lecouvreur) and Mistress Quickly (which she added in 1985 next to Taddei as Falstaff...
In this article: Maria Callas, Norma, Carmen, Fiorenza Cossotto, Lyric Opera of Chicago, La Scala, Un giorno di regno, and Suor Angelica
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Ethan Mordden
...by fate or free to invent a destiny. In a Nabokovian game meant for opera lovers, the novel's plot and characters reflect the plot and characters of Francesco Cilea's opera Adriana Lecouvreur. Mordden's least well-known work is A Bad...
In this article: William Shakespeare, Cole Porter, Ethan Mordden, New York City, Measure for Measure, Friends Academy, The New Yorker, University of Pennsylvania, and Claus von Stauffenberg
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Elena Nicolai
...which include the Grand Vestal in La vestale with Maria Vitale, Santuzza in Cavalleria rusticana with Mario del Monaco, the Principessa in Adriana Lecouvreur with Mafalda Favero, and Preziosilla in La forza del destino with Callas. Nicolai...
In this article: Elena Nicolai, Maria Callas, Antonietta Stella, Rigoletto, La vestale, La forza del destino, Don Carlos, Cavalleria rusticana, and Maria Vitale
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Renata Tebaldi
...there was a reconciliation. After Tebaldi had inaugurated the 1968 Met season with Cilea's Adriana Lecouvreur, Callas, who by that time had given her last opera performance, went backstage to congratulate Tebaldi. It was the last time the two...
In this article: Renata Tebaldi, Maria Callas, Carmen Melis, Parma, La Scala, Aida, Arturo Toscanini, and Valentino
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Magda Olivero
...by Nicola Rescigno, for Decca, 1969). At the age of 86 she still managed to sing Adriana's monologue in Jan Schmidt-Garre's film Opera Fanatic, and into her nineties she still makes appearances and sings. Olivero hopes to appear on the...
In this article: Magda Olivero, Maria Callas, Turandot, Fedora, Jan Schmidt-Garre, Wikipedi, and Medea
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Ettore Bastianini
...singing Enrico and Figaro opposite Callas's Lucia and Rosina. The following December he sang his first Michonnet in Francesco Cilea's Adriana Lecouvreur at the Teatro di San Carlo. He returned to that house in 1960 to sing Don Carlo in Ernani,...
In this article: Ettore Bastianini, La Scala, Don Carlo, Maria Callas, Rigoletto, Lucia di Lammermoor, and Salzburg Festival
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Description from Wikipedia:
Adriana Lecouvreur is an opera in four acts by Francesco Cilea to an Italian libretto by Arturo Colautti, based on the play by Eugène Scribe and Ernest Legouvé. It was first performed on 6 November 1902 in Milan.
The same play by Scribe and Legouvé which served as a basis for Cilea's librettists was also used by at least three different librettists for operas carrying exactly the same name, Adriana Lecouvreur, and created by three different composers. The first was opera in three acts by Tommaso Benvenuti (premiered in Milan in 1857). The next two were lyric dramas in 4 acts by Edoardo Vera (to the libretto by Achille de Lauzières) which premiered in Lisbon in 1858, and by Ettore Perosio (to the anonymous libretto) premiered in Geneva in 1889. After Cilea created his own Adriana, however, none of those by others were performed anymore and they remain largely unknown today.
The opera is based on the life of the French actress Adrienne Lecouvreur (1692–1730). While there are some actual historical figures in the opera, the episode it recounts is largely fictional, its death-by-poisoned violets plot device often signalled as verismo opera's least realistic. It is often condemned as being among the most confusing texts ever written for the stage, and cuts that are often made in performance (after Cilea himself cut much during the first run) only make the story harder to follow. Still, the heroine, Adriana, is an engaging character, and the music is considerably better than the libretto. It is an example of verismo opera, but it is not nearly as popular as such works as Pagliacci and Cavalleria rusticana. The running time of a typical modern performance is about 130 minutes (excluding intervals).
Ethan Mordden's novel The Venice Adriana uses the plot and characters of the opera in a modern setting.
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