Teatro Giuseppe Verdi di Busseto tickets 7 October 2027 - Stiffelio | GoComGo.com

Stiffelio

Teatro Giuseppe Verdi di Busseto, Busseto, Italy
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8 PM
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Important Info
Type: Opera
City: Busseto, Italy
Starts at: 20:00

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Conductor: Gianluca Capuano
Choir: Coro del Teatro Regio di Parma
Orchestra: Orchestra Filarmonica Italiana
Creators
Composer: Giuseppe Verdi
Director: Cecilia Ligorio
Librettist: Francesco Maria Piave
Festival

Festival Verdi 2027

From 1 to 24 October 2027, Parma and Busseto celebrate the music and dramatic imagination of Giuseppe Verdi at the 27th edition of Festival Verdi. Centred on the theme La colpa e il perdono (Guilt and Forgiveness), the festival explores the clash between personal desire, social conventions and moral judgement through three operas written during a pivotal period in Verdi’s creative development.

Overview

The opera that marks the turning point in Verdi’s development around the middle of the nineteenth century is Luisa Miller. Here, for the first time, reality emerges in all its nuanced complexity and immediacy, no longer reduced to emblematic situations or characters. Stiffelio is the natural consequence of this shift.

Set in relatively recent times, the opera unfolds in a bourgeois household, yet also features the somewhat old-fashioned figure of a retired military officer, entrusted with safeguarding social respectability. At its heart lies the conflict between a woman led astray by emotional turmoil and a man who ultimately overcomes his personal and social prejudices.

The true subject of the opera, however, is the protagonist’s inner struggle between the duty to forgive and the ancestral urge for revenge. Francesco Maria Piave based his libretto, as usual, on a contemporary French drama — in this case, Le Pasteur, ou L’Évangile et le Foyer by Émile Souvestre and Eugène Bourgois.

The protagonist is a Protestant pastor who returns from a long journey, during which he has witnessed every kind of sin while preaching forgiveness, only to discover that his own wife has been unfaithful. Forgiveness proves particularly difficult when one must practise it oneself rather than exhort others to do so. He even comes close to fighting a duel with his rival, but the confrontation is interrupted when he suddenly feels unwell upon hearing a psalm being sung in the distance. The task of disposing of the lover falls instead to the woman’s father, who is determined to prevent anything from coming to light that might tarnish the family’s good name — a clear precursor to Germont in La traviata.

In the end, the pastor’s sense of duty and compassion prevail. While reading the Gospel account of the adulterous woman in church, he publicly forgives his wife, accompanied by music of extraordinary intensity and solemnity.

Verdi was fully aware of the subject’s sensitivity and therefore chose a provincial theatre for the opera’s premiere on 16 November 1850: the Teatro Grande in Trieste. A moral parable of this kind could easily be interpreted as an encouragement to immorality, and the censors across the Italian states — and beyond — reacted fiercely, altering the setting, text and title. Exasperated, Verdi eventually decided, six years later, to put an end to these distortions and prevent further productions, withdrawing the opera from circulation.

Stiffelio was revived only in the mid-twentieth century, by which time its subject had lost much of its power to shock. From the outset, it appeared as a kind of forerunner to La traviata, but only in recent years has it gained recognition as an independent and significant work in the transformation of Verdi’s operatic style during the mid-nineteenth century.

Giuseppe Martini

History
Premiere of this production: 16 November 1850, Teatro Grande, Trieste

Stiffelio is an opera in three acts by Giuseppe Verdi, from an Italian libretto by Francesco Maria Piave. The origin of this was the novel Le pasteur d’hommes, by Émile Souvestre, which was published in 1838. This was adapted into the French play Le pasteur, ou L'évangile et le foyer by Souvestre together with Eugène Bourgeois. (Its premiere was on 10 February 1849 at the Théâtre de la Porte Saint-Martin in Paris.) That play was in turn translated into Italian by Gaetano Vestri as Stifellius; this formed the basis of Piave's libretto.

Synopsis

Place: Count Stankar's castle and surrounding environs on the banks of the River Salzach, outside of Salzburg, Austria
Time: first half of the 19th century

Act 1
Scene 1: A hall in Count Stankar's castle

Stiffelio, a Protestant minister, is expected to return from a mission. His wife Lina, her father Stankar, the elderly minister Jorg, and Lina's cousins Dorotea and Federico are waiting for him. In addition, there is Raffaele who, unknown to all, is Lina's lover. Stiffelio arrives and recounts a strange story told by Walter the castle boatman (Di qua varcando): eight days earlier, Walter witnessed a man escape from the room of an unidentified woman in the castle by jumping out the window into the river. In his flight, the man dropped a packet of identifying papers, which the boatman recovered and has now given to Stiffelio. Refusing to learn by opening the packet who was involved, he throws the letters into the fire, much to the relief of Lina and Raffaele, the two parties of the incident (Colla cenere disperso). Secretly, Raffaele communicates to Lina that he will leave instructions as where they may next meet in a note placed inside a locked copy of Klopstock's Messiah in the library.

After Stiffelio has been greeted by the local congregation, he and Lina are left alone (Non ha per me un accento – "She has no word for me, not a glance"). He tells her of the sin he has witnessed (Vidi dovunque gemere – "Everywhere I saw virtue groaning and oppressed"), in particular denouncing married women who are unfaithful to their husbands. However, he tells Lina that she reminds him that marital fidelity still exists. Lina, unnerved, asks Stiffelio if he would forgive her if she were unfaithful; Stiffelio says he would not because "forgiveness is easy for an unwounded heart, but hidden within the soul is a treasure which no one can break without being punished". He then notices that her wedding ring, a gift from his deceased mother, is not on her finger. Angrily, he demands to know why (Ah v'appare in fronte scritto – "Ah, clearly written on your brow is the shame that wages war in your heart"), but Stankar arrives to escort him to the celebrations being arranged by his friends. Alone, Lina, filled with remorse, prays to God for forgiveness (A te ascenda, O Dio clemente – "Let my sighs and tears ascend to thee, O merciful God").

Deciding to confess everything to Stiffelio, Lina begins to write to him, but her father enters and grabs the letter, which he reads aloud. Stankar rebukes her (Dite che il fallo a tergere – "Tell him that your heart lacks the strength to wash away your sins") and tells her that if Stiffelio were to discover the truth, then the ensuing despair would kill him. He pressures her to remain silent in order to cover up what she has done and thus preserve appearances and family honor (Ed io pure in faccia agli uomini – "So before the face of mankind I must stifle my anger"). Eventually, Stankar tells her to put on a brave face and hide her grief (Or meco venite – "Come now with me; tears are of no consequence"). Lina reluctantly agrees to remain silent on the matter and the two leave together.

Now Raffaele enters to place the note in the volume of Klopstock's Messiah, as he previously told Lina he was going to. Jorg, hidden, observes this just as Federico arrives to take the volume away, leading him to assume that Raffaele and Federico are collaborating to smuggle letters to an unknown third party.

Scene 2: The banquet hall of Stankar's castle.

A party has been organized to welcome Stiffelio back as the congregants praise him for the love he spreads among the people. Stiffelio enters with Jorg, who tells him he saw a gentleman hiding a note in a locked book. Stiffelio asks who hid the note and Jorg mistakenly points to Federico, who has the copy of Messiah and is now talking to Lina. Stiffelio is lost in thought. Dorotea and Federico ask him what he will preach about in church that evening. He declares that he will preach about Judas and all vile betrayers, seducers who ruin homes for example. He takes the locked book from Federico. Dorotea blurts out that Lina has the key and Stiffelio orders his wife to unlock it. When she refuses, he breaks open the clasp himself and sees the letter. Before he can read it, however, Stankar grabs it and tears it up. Stiffelio is furious with Stankar; Lina begs Stiffelio to strike her but leave her father alone. Stankar tells Raffaele to meet him in the cemetery, while Raffaele pretends indifference. The others wonder what demon invaded Stiffelio's heart to rob them of their serenity.

Act 2
A cemetery near the castle

Lina wanders into the cemetery. She comes across her mother's grave and in desperation once again prays for forgiveness (Ah dagli scanni eterei – "Ah, from among the ethereal thrones, where, blessed, you take your seat"), but Raffaele, having followed her, arrives. She demands that he return her wedding ring and her letters, which he had taken, and then immediately asks him to leave forever (Perder dunque voi volete – "Then you wish to destroy this unhappy, betrayed wretch"). However, Raffaele refuses to leave (Io resto – "I stay").

Stankar arrives, demands that his daughter leave, and challenges Raffaele to a duel. Raffaele initially refuses to fight, but ends up accepting the challenge after Stankar threatens to tell everyone that Raffaele is actually a bastard child, not a Count as he claims. Stiffelio arrives and rebukes them for fighting in a cemetery. There is an attempt at conciliation whereby the minister takes Raffaele's hand with the intention to also take Stankar's and have them shake hands. However, Stankar reveals that Stiffelio has touched the hand of the man who betrayed him! Not quite understanding at first, Stiffelio demands that the mystery be solved. As Lina returns asking her husband to forgive her, Stiffelio begins to comprehend the situation (Ah, no! È impossibile! – "No! It cannot be!").

Enraged and devastated, Stiffelio challenges Raffaele to a duel, but Raffaele refuses. Stiffelio as such decides to simply kill him instead, but as he is about to strike Raffaele, Jorg arrives to summon Stiffelio to the church. Inside the church, the congregation sings a hymn asking for forgiveness, which torments Stiffelio. Filled with conflicting emotions, Stiffelio drops his sword and asks God to inspire his speech to his parishioners, but almost immediately thereafter declares that he can never forgive his wife and curses her. Jorg reminds him that Christ forgave all humanity from the cross; Stiffelio, overwhelmed, faints.

Act 3
Scene 1: A room in Count Stankar's castle, the next morning

Alone, Stankar reads a letter he has intercepted, in which Raffaele tells Lina that he is fleeing the area and asks her to follow him. He is in despair over his daughter's behavior (Lina pensai che un angelo in te mi desse il cielo – "Lina, I thought that in you heaven gave me an angel"). For a moment, he resolves to kill himself and begins to write a letter to Stiffelio. But Jorg enters to give him the news that he has tracked down Raffaele, who will be returning to the castle. Stankar rejoices (O gioia inesprimibile, che questo core inondi! – "Oh, the inexpressible joy that floods this heart of mine!"), as he sees revenge being within reach. He leaves.

Stiffelio confronts Raffaele and asks him what he would do if Lina were free, offering him a choice between "a guilty freedom" and "the future of the woman you have ruined". Raffaele does not respond, and the minister tells him to listen to his encounter with Lina from the other room.

Once Lina arrives, Stiffelio tells her that they must separate—he says he will leave and continue his ministry and suggests to Lina that she marry Raffaele in order to redeem her honor—and presents her with divorce papers (Opposto è il calle che in avvenire – "Opposite are the paths that our lives will follow in the future"). Lina, shocked, initially indignantly refuses ("I will die for your love"), but when Stiffelio accuses her of trying to emotionally manipulate him, she signs the papers in an attempt to prove her sincerity: as her husband, he could refuse to listen to her, but as a minister with nothing else between them, he cannot, and she wants nothing more than to have him hear the full truth. Thus appealing to Stiffelio more as a minister than as a husband, Lina confesses that she has always loved him and she still does. When Stiffelio asks her what happened with Raffaele, she tells him that Raffaele betrayed her. Stankar enters to announce that he has killed Raffaele. Jorg tries to convince Stiffelio to come to the church service (Ah sì, voliamo al tempio – "Ah, yes, let us flee to the church").

Scene 2: A church

The congregation gathers for services, singing the same hymn of forgiveness that they sang at the end of Act II. Meanwhile, Lina and Stankar pray for forgiveness for their respective sins of adultery and murder. Jorg tells Stiffelio, who is not convinced that he has the emotional fortitude or focus of mind to deliver a sermon after the events of the last 24 hours, to open the Bible to a random page and let God inspire him. Stiffelio mounts the pulpit and opens the Bible to the story of the adulterous woman (John 7:53–8:11). After reading the passage with which Jesus forgives the adulterous woman, Stiffelio in his turn forgives Lina ("Perdonata, perdonata, perdonata! Iddio lo pronunziò!"—"Forgiven, forgiven, forgiven! God has pronounced it!").

Venue Info

Teatro Giuseppe Verdi di Busseto - Busseto
Location   Piazza Giuseppe Verdi, 1

Teatro Giuseppe Verdi is a small opera house located in a wing of the Rocca dei Marchesi Pallavicino on the Piazza Giuseppe Verdi in Busseto, Italy, a town closely associated with the life of the opera composer, Giuseppe Verdi. From the 13th century, the “rocca” or “fortress” was the family’s palace; it is now the city hall after being acquired by the municipality in 1856. The theatre opened on 15 August 1868 and seats 300.

Prior to 1856, a theatre existed in the same location, and while plans to build a new one were begun in 1845, nothing happened until the municipality took over. Designed by Pier Luigi Montecchini, the theatre is located on an upper level of the City Hall and is reached by a large staircase. Outside the theatre is a bust of Verdi by Giovanni Dupré. The interior is traditionally horseshoe-shaped with three rows of boxes and an elegantly designed ceiling featuring four medallions representing comedy, tragedy, melodrama, and romantic drama.

Although Verdi opposed its construction (it would be “too expensive and useless in the future”, he said) and is reputed never to have set foot in it, he did contribute 10,000 lire towards the construction and maintained his own box. On opening night, operagoers dressed in green, the men all wearing green ties, the women wearing green dresses. Two Verdi operas were presented: Rigoletto and Un ballo in maschera. Verdi did not attend even though he lived only two miles away at his home, the Villa Verdi, in the village of Sant’Agata in Villanova sull'Arda.

In 1913, Arturo Toscanini conducted a performance of Falstaff in celebration of the centenary of Verdi’s birth and to raise funds for what is now a large monument of the seated composer located in the piazza. In 2001 the theatre re-painted the sets from 1913 for a revival; these were used again in October 2013 for a Verdi bi-centenary performance of Falstaff.

The theatre has been extensively renovated in the 1990s. It presents a regular season of opera performances.

Important Info
Type: Opera
City: Busseto, Italy
Starts at: 20:00
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