Il matrimoniosegreto Stefania Bonfadelli

Bruno PraticòEdgardo RochaMaria Costanza Nocentini

DOMENICO CIMAROSA

Carlo GoldsteinOrchestra Filarmonica ItalianaStaged byMarco “Morgan” CastoldiTeatro Coccia di Novara

DOMENICO CIMAROSA

Il matrimoniosegreto

Photo

s: ©

Mari

o Fino

tti

Folde

r: lue

bbek

e.com

Conductor Carlo Goldstein Orchestra Orchestra Filarmonica Italiana

Carolina Stefania Bonfadelli Geronimo Bruno Praticò Paolino Edgardo Rocha Elisetta Maria Costanza Nocentini Fidalma Irene Molinari Il conte Robinson Filippo Fontana Staged by Marco “Morgan” Castoldi Video Director Tiziano Mancini Length 178'

Shot in HDTV 1080 Cat. no. A00050003

A production of UNITEL in co-production with

Fondazione Teatro Coccia Novara and CLASSICA

The opera buffa Il matrimonio segreto (1792) is the only one of Domenico Cimarosa’s (1749-1801) 65 operas to still be regularly performed today. This is largely due to its remarkably original music, which is located stylistically between Mozart, Rossini and Donizetti, and anticipates the romantic era.

With its mix-ups and misunderstandings, the plot hums along with humor and speed: The wealthy merchant Geronimo wants to marry his daughter Elisabetta off to a count. When the count arrives, his gaze falls upon the prettier Carolina, Elisabetta’s sister, and he wants her instead. She, however, is already secretly married to Paolino. Many complications ensue on the road to bliss.

Summarized with the words “When the 18th century turns punk” (Il corriere musicale), the production combines Baroque and Bad-Boy in this often eye-popping staging by iconic Italian pop musician and TV personality Marco Castoldi, a.k.a. Morgan. While he stresses the surprising modernity of the subject, thus underlining its timelessness, he “never goes overboard”, says bass Bruno Praticò.

Castoldi gives his protagonists a slightly ghoulish look by dressing them in costumes of an indefinable historical period, but with extravagant Baroque-style wigs. In the background is a kind of grid on which mimes add another dimension to the action at the front of the stage. “A vital staging, full of ideas... which kept the audience on its toes.” (Rivista Musica)

All rig

hts re

serve

d · cr

edits

not c

ontra

ctual

· Diff

erent

territ

ories

www.unitelclassica.comC Major Entertainment +49-(0)3030306464mail@cmajor-entertainment.com

WORLD SALES: