Singer

"He was your brother... You are avenged, Mother!"
Azucena
When Count Luna and the troubadour Manrico not only find themselves as enemies in a bloody civil war, but also fall in love with the same woman, a fatal tragedy unfolds: Leonora poisons herself, and Manrico is executed by Luna, who then learns that he killed his own brother, believed to be long lost. Manrico had grown up unrecognized by Azucena, who once witnessed the old Count Luna burn her mother at the stake. Deeply traumatized, Azucena swore revenge, kidnapped the count's younger son, and accidentally killed her own child in his place.
With his drama "El Trovador" ( The Troubadour) , Antonio García Gutiérrez wrote the most successful and popular stage work of the Spanish Romantic era in 1836. Giuseppe Verdi was so captivated by this dark romance of love and hate, jealousy and revenge that he used it as the basis for his opera Il Trovatore in 1849/50, without a commission and thus without a guarantee of a premiere . In it, he found the age-old motif of fraternal strife intertwined with the questions of fate, chance, and inner necessity that had always fascinated him. He knew how to carve his characters out of this bizarre story in a highly sophisticated way. His musical imagination was ignited by their contradictions, their imprisonment, and their longings.

The Troubadour

Staatstheater Hannover

Robert Lis, born in Dabrowa Gornicza, Poland, began playing the violin at the age of 6. He is one of the most talented Polish violinists of his generation and has won numerous national and international violin competitions. In 2011, he graduated with honours from the Ignacy Paderewski Academy of Music in Poznan as a student of Prof. Dr Marcin Baranowski. In 2012 he obtained his second master's degree at the Conservatorium van Amsterdam as a student of Ilya Grubert.

Chamber Music Evening N° 5

Semper Opera Dresden

“This is a delicate matter, how will it end?”
Countess, Susanna and Figaro
On the occasion of Figaro and Susanna's wedding, Count Almaviva wants to once again indulge in the long-abolished "right of the first night," setting in motion a machine of confusion, intrigue, and doubt that ultimately leads to the exposure of the Count's abuse of power, but also to the possibility of forgiveness.
Only a composer like Wolfgang Amadeus Mozart could have come up with the downright ludicrous idea of ​​setting Beaumarchais's La folle journée ou Le mariage de Figaro to music in 1786 , the most politically explosive comedy of those years—a portrait of a society in upheaval and a nobility once again exercising their privileges and blindly running towards their own ruin. The very first bars of the overture make it irresistibly clear: in this play, every bar, every syllable, every whisper carries the undertone of nervous excitement. There is a standstill only at the turning points, those precious moments in which Mozart reveals the inner lives of his heroes. But the adventure continues, and only the onset of night can bring this "mad day" to an end.

Soprano

Valda Wilson

Events

Upcoming events

13 - 25 Jun, 2026

The Troubadour · Staatstheater Hannover

Past events

13 - 25 Jun, 2026

The Troubadour · Staatstheater Hannover

Mar 8, 2026

Chamber Music Evening N° 5 · Sächsische Staatskapelle Dresden

Future and recently performed repertoire

Countess Almaviva in The Marriage of Figaro by Mozart

Staatstheater Hannover

Singer in String Quartet in F major by Ravel

Sächsische Staatskapelle Dresden

Leonora in The Troubadour by Verdi

Staatstheater Hannover

The Field Marshal in The Rosenkavalier by Strauss

Staatstheater Hannover

About

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