Viva La Mamma
Perhaps the most distinct character is that of Mamma Agata, the mother of the second donna, portrayed by a man. The application of travesty highlights the comicality of both the personage and the whole farce, thus linking up to the centuries-old tradition of comic theatre. The conduct of the other protagonists is funny, annoying, yet moving too. And just as funny, annoying and moving, and in the final analysis, admirable, is the behaviour of today’s descendants of Donizetti’s characters.
The very timelessness of the operatic farce is actually that which makes it so enthralling. In addition to an amusing plot, the audiences can also savour Donizetti’s brilliant bel canto music at its peak. By and large, the opera is a sort of quintessence of 19th–century musical comedy, which also has the indisputable potential of enchanting present-day consumers.
Sung in Italian. Czech and English surtitles.
Approximate running time, including intermission: 2 hours and 20 minutes, one 20-minute intermission.
Libretto: Domenico Gilardoni
Conductor: Jan Bubák
Stage director: Radim Vizváry
Sets: Lucia Škandíková
Costumes: Petra Vlachynská
Lighting design: Karel Šimek
Chorus master: Martin Buchta
Motion cooperation: Miřenka Čechová
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