- 14 may 2015 – 7 jun 2015, Main Stage.
- 2 hours and 45 minutes, including 1 pause.
- Giancarlo Andretta
- Direction, original production
- David Radok
- Direction, revival premiere
- Mattias Ermedahl
- Set Design
- Ivan Theimer
- Costume Design
- Katarina Hollá
- Lighting Design, original production
- Torkel Blomkvist
- Lighting Design, revival premiere
- Joakim Brink
- Choreography, original production
- Håkan Mayer
- Choreography, revival premiere
- Lina Räftegård
- Don Ramiro
- Sergej Romanovskij
- Åke Zetterström
- Don Magnifico
- Markus Schwartz
- Don Magnifco (Sung off-stage 7juni)
- Noé Colin
- Mia Karlsson
- Clorinda (Sung off-stage 7juni)
- Carolina Sandgren
- Ann-Kristin Jones
- Gaia Petrone
- Fredrik Helgesson
- Ulriqa Fernqvist
- Gustaf Jönsson
- Morgan Karlsson
- Susanna Knutas
- Lina Räftegård
- Sara Suneson
- Åsa Thegerström
- The Göteborg Opera Male Chorus
- The Göteborg Opera Orchestra
On 7 June Don Magnifico will be sung off-stage by Noé Colin and Markus Schwartz will act on stage. Clorinda will be sung off-stage by our Carolina Sandgren and Mia Karlsson will act on Stage.
Opera in two acts by GIOACHINO ROSSINI (1792-1868) Libretto by JACOPO FERRETTI based on the fairy tale by Charles Perrault. Performed in Italian with Swedish surtitles.
This will put you in a really great mood
For this production the title role will be played by Gaia Petrone, a young Italian mezzo-soprano whose international status has sky-rocketed partly in thanks to her acclaimed success as Cinderella at the Wiener Kammeroper. Her prince is young Russian tenor Sergey Romanovsky, who has specialised in Rossini’s ethereally high tenor sections.
The house soloists Åke Zetterström and Markus Schwartz guarantee great comic timing as ”the false prince” Dandini and Cinderella’s step-father Don Magnifico. This duo was a great success the last time we staged this production, while Mia Karlsson and Ann-Kristin Jones are new members of the cast, as the insufferably self-centred sisters.
Giancarlo Andretta is, as always, a welcome guest on our conductor’s podium. He will be responsible for ensuring that Rossini’s farcical merry-go-round is given the correct Italian spirit.