Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”

Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”

Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”

Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”