Friedrich Schiller premiered his drama Cabal and love (Intrigue and love) he 13 April 21 1784, a few years before the outbreak of the French Revolution. Like so many works of thought - and this work is- of the Age of Enlightenment, the Schillerian drama denounces the paralyzing power of the class system of the Ancien Régime, which prohibited all admissible and legal relations between members of different social classes. The young protagonists see their attempt fail in the face of their parents' firm refusal: the noble to defend his damaged social rights; Luisa's father for not acting in line with the times and helping Luisa in her relationship, to justify the expired ideas ofthe Ancien Régime. The unfortunate end of these loves deeply interested Giuseppe Verdi at a time in his life when the bourgeois drama - the one lived by the simple people- replaced the historical drama and the Risorgimento: not all social injustices perished by the revolutionary guillotine, class differences continued - and continue- surviving.
New production of Luisa Miller and the first opera to be conducted by Les Arts' brand new music director, Sir Mark Elder, and also the accredited one director from Buenos Aires Valentina Carrasco. His stage proposal expresses the cruel and manipulative psychological background of family relationships, contextualized in an artisanal doll factory. The demanding vocal sextet has as a star guest the Italian tenor Freddie De Tommaso in the role of Rodolfo and brings together artists with a well-known career in Valencia, com Mariangela Sicilia (The trip to Reims, The Magic Flute), Alex Esposito (Anne Boleyn, The Tales of Hoffmann) or Gianluca Buratto (Don Giovanni), with emerging voices, including that of the Argentinian baritone Germán Alcántara, regular presence in the Covent Garden seasons, the mezzo-soprano Maria Barakova, applauded in the Metropolitan and the Opera of Vienna.
