Ages from its premiere at La Fenice in 1851, Italian opera director Daniele Abbado brings his new vision for Verdi’s tragic opera (and Piave’s gorgeously effective libretto) Rigoletto to Venice’s historic opera house. Opening night’s cast is Eric Cutler as The Duke, Roberto Frontali as Rigoletto, and Désirée Rancatore as Gilda. Myung-Whun Chung conducts.
Messa da Requiem
In honour of Italian poet and writer Alessandro Manzoni, Maestro Riccardo Frizza conducts this special performance of Giuseppe Verdi’s Requiem in the grand, historic cathedral of Milan with the Symphony Orchestra and Symphony Choir of Milan. Verdi composed his masterpiece of sacred music in 1874 to pay homage to Manzoni on the first anniversary of his death. In this celebration of two greats of Italian culture and history, the orchestra was joined by a vocal cast composed of Serena Farnocchia, soprano, Anna Maria Chiuri, mezzo-soprano, Luciano Ganci, tenor, and Luiz-Ottavio Faria, bass. “This work is so great because it is the affirmation of the personal feelings that a human being faces during mourning, which comes to us through the anguish, pain, and hope that the strength of Verdi’s music expresses.” Maestro Frizza said in an interview with Gramiliano.
La battaglia di Legnano
At the Teatro Regio di Parma, director Valentina Carrasco centres her interpretation of this early, seldomly performed Verdi opera around the horse: “The horror of armed conflict passes through the presence of horses, used by soldiers, petted and cared for, but also killed and disfigured, a symbol of those who pay the price of war without ever having started it or wanting to” (Connessi all’Opera). The cast is excellent, above all Marina Rebeka as Lida with “precise virtuosity” (Connessi all’Opera) and Antonio Poli as Arrigo, who “portrays a sensitive, human hero” with a “robust, full voice” (GB Opera). The young conductor Diego Ceretta at the helm of the Orchestra of the Teatro Communale di Bologna delivers a clear interpretation of the score as he sets a “pressing narrative structure” and highlights “the many timbral and harmonic details” of the music (Teatro). The true star of the production is the Chorus of the Teatro Communale di Bologna, which convinces with “volume, roundness, and beauty of sound” (GBOpera).
Macbeth
Verdi revelled in the power and fantasy of Shakespeare, and when he recreated Macbeth as an Italian opera he practically redefined the genre – demanding a Lady Macbeth who was a sublime actor as well as an outstanding singer. He’d have been thrilled with this production from Zurich Opera House, with its boldly imaginative staging by David Pountney and urgent, nuanced conducting from Franz Welser-Möst. But above all, he’d have been gripped by the young Sardinian soprano Paoletta Marrocu as Lady Macbeth, and an interpretation that Gramophone magazine compared to Maria Callas: “from first to last, a truly stunning performance”.
La forza del destino
A raging torrent of love, vengeance and redemption set against the backdrop of a world in flames, Verdi’s La forza del destino is one of the landmarks of 19th-century opera. In the right hands, it can be one of opera’s most cathartic experiences, and in 1998 few conductors in the world generated more electricity than Valery Gergiev at the helm of his rejuvenated Mariinsky forces, conducing the fascinating 1862 version of the score, as premiered in St Petersburg. With Galina Gorchakova as Leonora and supercharged emotional commitment from the whole cast, Elijah Moshinsky’s classic staging has rarely felt more vital – or more thrilling.
Don Carlo
“vocal luxury was the order of the day”(Die Deutsche Bühne) In this new production of Verdi’s Don Carlo, director Kirill Serebrennikov sets the opera in a historic costume research institute, blending history with the present. Silent actors in historic costumes symbolize self-aggrandizement and emotional confinement. Conductor Philippe Jordan is praised for his sensitivity. Joshua Guerrero effectively portrays Don Carlo, while Etienne Dupuis’s Posa is a charming freedom fighter. Roberto Tagliavini stands out as Filippo II, and Eve-Maud Hubeaux impresses alongside Asmik Grigorian, who shines in her role debut as Elisabetta, delivering a powerful performance that resonates deeply with the audience.
Otello
Never has Giuseppe Verdi composed revenge, intrigue and jealousy fierier and more diabolical than in his late opera Otello. One of the greatest love stories in literature – Otello is the second of Verdi’s three Shakespeare operas – fails brutally, cruelly and senselessly. With the title role of Otello, Jonas Kaufmann takes on what is probably the most demanding part of his vocal register He is “in splendid form” (Kronen Zeitung) and “has sung his way into the Olympus as an interpreter of Otello” (klassik-begeistert.de) with this performance. Baritone Ludovic Tézier “is unrivalled as Lago” (Kurier). “This baritone’s attacks are like acts of tonal violence, his legato mischief clever manipulations. A devil on earth.” (Der Standard) Soprano Rachel Willis-Sørensen is “a Desdemona to fall in love with” (Die Presse) with “a voice to kneel down to, with a timbre that captivates” (klassik-begeistert.de). Adrian Noble’s staging moves the action to circa 1900, stripping it of its historical context. Emphasizing the inner world of the main character and his emotional disintegration, his Otello becomes “a psychological thriller” (bachtrack.com).
Il Trovatore
Giuseppe Verdi’s Il trovatore is said to be one of Verdi’s musical masterpieces – full of emotions and expressive melodies, the paragon of Italian romantic opera but also a formidable challenge for the singers. This production from the Maggio Musicale Fiorentino is brought to vivid life by directing veteran Cesare Lievi with sets and costumes by Luigi Perego. Young Mongolian baritone Amartuvshin Enkhbat caused a first international stir winning the audience prize of the International Singing Competition “BBC Cardiff Singer of the World” in 2015. In the role of Count di Luna he is “the triumphant winner of the opening night.” (Giornale della musica). Ekaterina Semenchuck as Azucena – “admirable from the first to the last note.” (OperaClick.com) – is joined by the accomplished Verdian interpreters Fabio Sartori as the titular troubadour Manrico and María José Siri as Leonora. Zubin Mehta conducts Chorus and Orchestra of the Maggio Musicale Fiorentino.
Aida
Even though Christian Thielemann conducted a lot of Italian operas during his “journeyman years” in Italy, this production at the Semperoper is his very first Aida. He tells this stirring drama by Giuseppe Verdi at the Semperoper Dresden with a great symphonic arc and a sense of detail. No blaring, no crashing: Everything is carefully balanced and lovingly modelled. With small breakes when it’s important, and otherwise a high basic pulse, Thielemann and the luxurious Staatskapelle Dresden counter the oratorical, statuesque nature of the piece with a lot of dramatic tension. Katharina Thalbach, known for her innovative and thought-provoking productions, created a classical set for the Semperoper and hence laid all the focus on the portrayal of the characters and their relationships and on the music. The “outstanding ensemble of singers” (Deutschlandfunk). “The crowning glory of this feast of voices is provided by Francesco Meli … currently the best Radamès” (Der Merkur), Krassimira Stoyanova as Aida, who beguiles with her power as well as with piani, and Oksana Volkova as Amneris, who comes up with darkly blazing passion” (Neue Musikzeitung).
La Traviata
Fondly known as “La Traviata of the Mirrors”, this iconic production returns to the familiar Macerata Opera Festival. The exeptional staging designed by Josef Svoboda allows the audience to experience a masterpiece through the gaze of giant mirrors. This production with new costumes stirs emotions and engulfs you in the tragedy that is Violetta Valéry’s predicament. Soprano Claudia Pavone brings the famous courtesan to life. The Sferisterio Opera Festival in Macerata, central Italy, has become a true gem whose performances are enthusiastically acclaimed by audiences of genuine opera lovers from far and wide. The open-air stadium (Sphaeristerium) was constructed 1820-29 and is one of the most renowned neo-classical buildings in Italy.