Un Ballo in Maschera
Giuseppe Verdi
UN BALLO IN MASCHERA
Opera in three parts, in three acts, in Italian, with Hungarian, English, and Italian subtitles
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Last event date on this page: Tuesday, July 15 2025 6:30PM
The subject of this work sparked Verdi's fiercest battle with the censor of Naples and, later on, of Rome. The original libretto treated an actual historical event: the 1792 regicide of a Swedish king. However, this proved too delicate a matter given the political situation of the day, and so in order to curry favour with the censor, the king was converted into an earl and the plot transplanted from Europe to the English North American colonies. After a few more minor alterations, the Roman censor allowed the staging of the work, which when the layer of political assassination is peeled away the plot, reveals a love story. Apart from the political discontent, the real stakes are over a marriage in need of saving. Lurking in the story's background are visceral emotions of unrequited love and blind jealousy that move the plot along.
Un ballo in maschera is presented as part of the Opera's repertoire – in accordance with the composer's original intention – as the story of the Swedish king Gustavo III in a production created by the young Italian director and competition-winner Fabio Ceresa.
AUTHORS
Composer: Giuseppe Verdi
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian subtitles: Eszter Orbán
English subtitles: Arthur Roger Crane
Chorus director: Gábor Csiki
Composer: Giuseppe Verdi
Libretto after the work by Eugène Scribe: Antonio Somma
Director: Fabio Ceresa
Set designer: Tiziano Santi
Costume designer: Giuseppe Palella
Movement director: Mattia Agatiello
Lighting designer: Ferenc Stadler
Dramaturg, Hungarian subtitles: Eszter Orbán
English subtitles: Arthur Roger Crane
Chorus director: Gábor Csiki
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When I was young, before I discovered the Art of Dance and became fully devoted to it, I was fascinated by drawing. Today I keep this same preoccupation in what I call, in my work, my taste for the construction of the gesture and its setting in space. Where I leave, where I am going, what will be my path … I probably kept this unspeakable taste to leave the trace of the artistic gesture coupled with a concern of the heart, the relationship to time.
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