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Ensemble - Deutsche Oper Berlin

Francesco Lanzillotta

Francesco Lanzillotta

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In Rom geboren, studierte Francesco Lanzillotta Dirigat bei Bruno Aprea am Konservatorium Santa Cecilia in Rom, Komposition bei Luciano Pelosi und Klavier bei Velia De Vita. Er besuchte Meisterkurse bei Harold Farberman und George Phelivanian.

Regelmäßig steht er den Orchestern bedeutender italienischer Opernhäuser vor, darunter das Teatro La Fenice di Venezia, das Teatro San Carlo di Napoli, das Teatro Verdi di Trieste, das Teatro Filarmonico di Verona und das Teatro Lirico di Cagliari. 2010 wurde er zum Principal Guest Conductor am Opernhaus von Varna in Bulgarien berufen, wo er Vorstellungsreihen von CAVALLERIA RUSTICANA, PAGLIACCI, LE NOZZE DI FIGARO, TOSCA, LA TRAVIATA, CARMEN und LA BOHEME leitete.

Auch auf dem Konzertpodium gastierte er bei renommierten Orchestern, so beim Orchestra Nazionale della RAI di Torino, beim Swiss Italian Orchestra, beim Orchestra I Pomeriggi Musicali in Mailand, beim Orchestra Haydn in Bozen, Filarmonica Toscanini in Parma, beim Orchestra Regionale Toscana in Florenz, beim Orchestra dei Giovani of Accademia Nazionale di Santa Cecilia in Rom, beim Orchestra of Teatro Filarmonico di Verona, beim Orchestra of Teatro San Carlo di Napoli, beim Orchestra of Teatro Verdi di Trieste, beim Gyeonggi Philharmonic Orchestra in Suwon (Korea) und beim Sofia Philharmonic Orchestra.

Während der Saison 2012/2013 gab er sein Debüt beim Orchestra Sinfonica della RAI di Torino sowie mit HISTOIRE DU SOLDAT und LA FUGA IN MASCHERA von Gaspare Spontini am Teatro San Carlo di Napoli, mit IL MAESTRO DI CAPPELLA an der Opéra de Nancy und mit Brittens THE LITTLE SWEEP beim Macerata Opera Festival. Nach einigen Gastdirigaten wurde er zur Saison 2014/2015 zum Chefdirigenten der Filarmonica Arturo Toscanini in Parma berufen. In diesem Amt wirkte er bis 2020.

Zu seinen jüngsten Engagements zählen u. a. LA BOHÈME in Treviso und Ferrara, LA TRAVIATA in Sassari, L’ITALIANA IN ALGERI in Verona, DON CHECCO in Neapel sowie IL MEDICO DEI PAZZI in Nancy und Venedig. 2015 dirigierte er beim Macerata Opera Festival RIGOLETTO und gab im Laufe der Saison 2016/17 seine Debüts u. a. beim Tokyo Philharmonic Orchestra, an der Opéra National de Montpellier, in Essen und beim Rossini-Festival in Pesaro mit TORVALDO E DORLISKA. 2018 gastierte er u. a. mit LUCIA DI LAMMERMOOR an der Opéra de Toulon sowie mit NABUCCO an der Deutschen Oper Berlin. 2018 gab Francesco Lanzillotta an der Semperoper Dresden sein Debüt am Pult der Sächsischen Staatskapelle mit einer Aufführungsserie von RIGOLETTO, in der Saison 2019/20 folgte dort IL VIAGGIO A REIMS. ANDREA CHENIER führte ihn nach Wien, L’ELISIR D’AMORE nach Rom, I BASTARDA nach Brüssel sowie LA BOHEME nach Neapel.

Mit großem Engagement setzt Francesco Lanzillotta sich für die Werke zeitgenössischer Komponisten ein, darunter Matteo D’Amico, Marcello Panni, Ennio Morricone, Ada Gentile, Carlo Galante, Michele Dall’Ongaro, Francesco Pennisi, Luis Bacalov, Luca Mosca und Giorgio Battistelli.

Schedule

Videos

Giuseppe Verdi: La Traviata [2023]
Video – 03:00 min.

Giuseppe Verdi: La Traviata [2023]

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22
DEC

Advents-Verlosung: Das 22. Fensterchen

On 7 March 2025, the first part of Tobias Kratzer's Strauss trilogy, ARABELLA, celebrates its revival as part of our ‘Richard Strauss in March’ weeks, with Jennifer Davis as Arabella , Heidi Stober as Zdenka/Zdenko, Thomas Johannes Mayer as Mandryka, Daniel O'Hearn as Matteo and, as in the premiere series, Doris Soffel and Albert Pesendorfer as the Waldner couple. Today we are giving away our DVD, which will not be available in shops until 14 February 2025. We would like to express our heartfelt thanks to NAXOS for giving us the very special opportunity to put ARABELLA in our lottery pot for you almost eight weeks before the official sales launch.

In today's Advent Calendar window, we are giving away two DVDs of ARABELLA – a lyrical comedy in three acts by Richard Strauss and Hugo von Hofmannsthal. If you would like to win one of the two DVDs, please write an e-mail with the subject ‘The 22nd window’ to advent@deutscheoperberlin.de.

Vienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening. At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto. Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

Richard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day. In the category of stage design, Manuel Braun, Jonas Dahl and Rainer Sellmaier were honoured with the renowned German Theatre Award DER FAUST 2023 for this production.

In this recording, under the baton of Sir Donald Runnicles, you will experience Albert Pesendorfer, Doris Soffel, Sara Jakubiak, Elena Tsallagova, Russell Braun, Robert Watson, Thomas Blondelle, Kyle Miller, Tyler Zimmerman, Hye-Young Moon, Lexi Hutton, Jörg Schörner and others, as well as the chorus and orchestra of the Deutsche Oper Berlin. The performances on 18 and 23 March 2023 were recorded by rbb Kultur and Naxos for this DVD.

We would like to thank the Naxos label for the great collaboration over the past few years, which documents recordings of DER ZWERG, DAS WUNDER DER HELIANE, FRANCESCA DA RIMINI, DER RING DES NIBELUNGEN, DER SCHATZGRÄBER, DIE MEISTERSINGER VON NÜRNBERG and ANTIKRIST. Richard Strauss' ARABELLA and INTERMEZZO will be released in the course of 2025.


Closing date: 22 December 2024. The winners will be informed by email on 23 December 2024. The DVDs will then be sent by post. There is no right of appeal.