UN BALLO IN MASCHERA is a classic example of Verdi’s new aesthetic of verità, which expands the palette of expression available to composers in musical drama. The gloom of King Gustav III’s and Amelia’s tragic love affair, which has all the signs of being their destiny, is in counterpoint to the radiant atmosphere at court, mainly represented by Oscar, the page. The dramatic highpoint comes in the finale of Act 3: the high-society ball brings together the conspirators and René Anckarström, causing an intertwining of narrative strands. Against a backdrop of elegant dance music the catastrophe unfolds. The final meeting of Amelia and Gustav is accompanied by a stylised minuet, which is only once interrupted by angst-driven music when Amelia fears for the life of her lover. The mood swings of the two main characters, chopping and changing between longing and guilt, are reflected in the rich aural tapestry – musical contrasts, sharp punctuations and syncopal structures all give expression to the intensity of feeling. It is above all in the music that the drama unfolds, with Götz Friedrich and his two set designers bringing their deft touches to the direction of the actors and the visual impression created on stage.