Roles
| Role | Voice type | Premiere Cast, June 19, 1825 (Conductor: Gioacchino Rossini) |
|---|---|---|
| Madame Cortese, Tyrolean hostess of the spa hotel |
soprano | Ester Mombelli |
| Contessa di Folleville, a fashionable young widow |
soprano | Laure Cinti-Damoreau |
| Corinna, a famous Roman poetess | soprano | Giuditta Pasta |
| Marchesa Melibea, the Polish widow of an Italian general killed on their wedding night |
contralto | Adelaide Schiassetti |
| Conte di Libenskof, Russian general in love with Marchesa Melibea |
tenor | Marco Bordogni |
| Chevalier Belfiore, handsome young French officer and spare-time painter |
tenor | Domenico Donzelli |
| Lord Sidney, English colonel secretly in love with Corinna |
bass | Carlo Zucchelli |
| Don Alvaro, Spanish admiral in love with Marchesa Melibea |
bass | Nicolas Levasseur |
| Barone di Trombonok, German major and music lover |
bass | Vincenzo Graziani |
| Don Profondo, scholar and lover of antiquities, friend of Corinna |
bass | Felice Pellegrini |
| Don Prudenzio, doctor at the spa | bass | Luigi Profeti |
| Modestina, the Contessa di Folleville's chamber maid | mezzo-soprano | Marietta Dotti |
| Don Luigino, cousin of the Contessa di Folleville | tenor | Piero Scudo |
| Maddalena, hotel housekeeper from Normandy | mezzo-soprano | Caterina Rossi |
| Antonio, maître d'hotel | baritone | Auletta |
| Zefirino, courier | tenor | Giovanola |
| Gelsomino, valet | tenor | Trévaux |
| Delia, young Greek girl who is Corinna's travelling companion |
soprano | Maria Amigo |
| Four strolling players, chorus of countrymen and women, gardeners, hotel staff, dancers, servants | ||
Read more about this topic: Il Viaggio A Reims
Famous quotes containing the word roles:
“There is a striking dichotomy between the behavior of many women in their lives at work and in their lives as mothers. Many of the same women who are battling stereotypes on the job, who are up against unspoken assumptions about the roles of men and women, seem to accept—and in their acceptance seem to reinforce—these roles at home with both their sons and their daughters.”
—Ellen Lewis (20th century)
“Productive collaborations between family and school, therefore, will demand that parents and teachers recognize the critical importance of each other’s participation in the life of the child. This mutuality of knowledge, understanding, and empathy comes not only with a recognition of the child as the central purpose for the collaboration but also with a recognition of the need to maintain roles and relationships with children that are comprehensive, dynamic, and differentiated.”
—Sara Lawrence Lightfoot (20th century)
“It was always the work that was the gyroscope in my life. I don’t know who could have lived with me. As an architect you’re absolutely devoured. A woman’s cast in a lot of roles and a man isn’t. I couldn’t be an architect and be a wife and mother.”
—Eleanore Kendall Pettersen (b. 1916)