Marianne Cornetti

Marianne Cornetti

Marianne Cornetti, die weltweit als eine der führenden Verdi-Mezzosopranistinnen anerkannt ist, trat als Amneris in AIDA, Azucena in IL TROVATORE und Principessa di Eboli in DON CARLO an Theatern wie dem Teatro alla Scala auf, dem Royal Opera House Covent Garden, der Metropolitan Opera of New York, der Wiener Staatsoper, dem Teatro dell'Opera di Roma, der Deutschen Oper Berlin, dem Theatre Royale de la Monnaie Bruxelles, dem Maggio Musicale di Firenze, der Arena di Verona, der Bayerischen Staatsoper München, dem Gran Teatre Liceu de Barcelona, dem Teatro San Carlo di Napoli, dem NCPA Beijing und am New National Theatre Tokyo.

Weitere Verdi-Rollen in ihrem Repertoire sind Preziosilla in LA FORZA DEL DESTINO, die sie am La Monnaie de Bruxelles und am Liceu de Barcelona gesungen hat, Abigaille in NABUCCO an der Metropolitan Opera und am New National Theatre Tokyo, Lady Macbeth in MACBETH an der Deutschen Oper Berlin, Ulrica in UN BALLO IN MASCHERA am Royal Opera House Covent Garden London und an der De Nederlande Opera Amsterdam, Mrs Quickly in FALSTAFF an der San Diego Opera.

Im Jahr 2005 sang sie ihre erste Wagner-Rolle, die Ortrud in LOHENGRIN am Teatro Giuseppe Verdi in Trieste. Mit ihrem Debüt als Brangäne in TRISTAN UND ISOLDE am Teatro dell'Opera di Roma setzte sie die Eroberung dieses Repertoires fort. Seitdem hat sie die Rolle der Ortrud in Amsterdam, Paris und Palermo gesungen und ist als Brangäne in Genua aufgetreten.

Zu ihrem Repertoire gehören auch Rollen wie Principessa di Bouillon in ADRIANA LECOUVREUR (Teatro dell'Opera di Roma, Teatro Regio di Torino, De Nederlandse Opera Amsterdam, Opéra de Monte-Carlo), Santuzza in CAVALLERIA RUSTICANA (Teatro alla Scala), Laura in LA GIOCONDA (Deutsche Oper Berlin, Teatro Massimo di Palermo), Ježibaba in RUSALKA an der Minnesota Opera und Rosa in Cileas L'ARLESIANA, die sie in der Carnegie Hall mit dem Opera Orchestra of New York unter Eve Queler mit großem Erfolg sang.

Sie tritt häufig in Konzerten mit Werken wie Verdis „Requiem“, Beethovens Symphonie Nr. 9, Rossinis „Stabat Mater“, Elgars „Sea Picture“ und De Fallas „El Amor Brujo“ auf. Sie hat Cileas L'ARLESIANA und Puccinis EDGAR aufgenommen.

Zu ihren jüngsten Engagements zählen u. a. LA GIOCONDA (Cieca) bei den Chorégies d'Orange, RUSALKA in Pittsburgh, IL TROVATORE am NCPA Beijing, AIDA an der Opéra Royal de Wallonie in Liège, HÄNSEL UND GRETEL (Hexe) an der Pittsburgh Opera, GIANNI SCHICCHI und L'ENFANT E LES SORTILÈGES am Rohm Theatre Kyoto, Bunka Kaikan Tokyo und am Art Theatre Nagoya, CAVALLERIA RUSTICANA und IL TROVATORE an der Metropolitan Opera, ADRIANA LECOUVREUR (Principessa di Bouillon) an der Opéra de Monte-Carlo und am Teatro Massimo in Palermo, IL TROVATORE an der Oper Frankfurt und am Liceu de Barcelona, AIDA an der Arena di Verona, FALSTAFF (Mrs Quickly) an der San Diego Opera sowie ADRIANA LECOUVREUR am Teatro San Carlo in Neapel.

Künftige Gastauftritte führen sie u. a. in IL TROVATORE an die Pittsburgh Lyric Opera und nach Hongkong sowie als Cieca / LA GIOCONDA an die Deutschen Oper Berlin.


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Advents-Verlosung: Das 2. Fensterchen

In today's Advent calendar window, we are giving away 3 DVDs of "Der Schatzgräber" - an opera in a prelude, four acts and a postlude by Franz Schreker. If you would like to win one of the three DVDs, please send an e-mail today with the subject "The 2nd window" to

DER SCHATZGRÄBER (THE TREASURE HUNTER) by Franz Schreker was a triumph at its world premiere in Frankfurt in 1920 and went on to play 44 times at assorted venues over the next five years. It then fell victim to a shifting zeitgeist and slipped from opera-house programmes, with a National Socialist ban on performances sealing its demise. Even after 1945 the Schreker revival was a long time coming – and THE TREASURE HUNTER has not featured prominently in the renaissance.

As with the vast majority of Schreker’s libretti, the story of Els and Elis explores the relationship between fantasy and reality, between art and life. Soulmates in the sense that they are both at the mercy of the king’s disposition, Els and Elis set off in search of different treasures. Elis, the minstrel, uses his magic lute to locate a stash of jewels and do humanity a good turn. Els, an innkeeper’s daughter who has grown up motherless in a tough, male-chauvinist world, becomes a liar, cheat and murderess in pursuit of her goal, tasking her suitors to steal the queen’s jewels and then having them killed once they have returned with the haul of treasure. Yet even with the gold in their possession, the pair are not content, and so, true to form, Schreker turns his attention to the theme of yearning per se, which is the actual “treasure” that the composer is interested in, “a dream of happiness and redemption”. Elis and Els are caught up in a swirl of dreams, memories, premonitions, songs and music. Their stories take on a dreamlike quality in a world beset by greed, murder and emotional inconstancy. For Franz Schreker the path to redemption could only be via art. Composed during the turmoil of the First World War, the TREASURE HUNTER score amounts to Schreker’s personal confession of artistic faith, executed in florid strokes of late-Romantic musical colour.

Conductor Marc Albrecht; Staging Christof Loy; Set design Johannes Leiacker; Costume design Barbara Drosihn; With Tuomas Pursio, Doke Pauwels, Clemens Bieber, Michael Adams, Joel Allison, Michael Laurenz, Thomas Johannes Mayer, Seth Carico, Daniel Johansson, Gideon Poppe, Stephen Bronk, Elisabet Strid, Patrick Cook, Tyler Zimmerman a. o.; Chorus and Orchestra of the Deutsche Oper Berlin

Closing date: 2 December 2023, the winners will be informed by email on 4 December 2023. The DVDs will then be sent by post. Legal recourse is excluded.