With a spectacular cast and the staging direction of Stefano Poda, this production of Verdi’s Nabucco presents the Arena di Verona in a postmodern aesthetic brought to light through a futuristic vision, cosmic symbolism and absolute abstraction. Anna Netrebko gifts the festival’s audience with a powerful interpretation of one of Verdi’s most demanding roles: her Abigaille is “beautiful, vivacious, magnetic” (La Stampa) and “tackles this formidable challenge with great confidence” (Rivista Musica). Amartuvshin Enkhbat is “a marvellous performer of Nabucco, deeply moving” (Forum Opera). “Pinchas Steinberg conducts the choir and orchestra of the Arena di Verona with verve, power, brio and fire” (Der Merker), a magnificent performance that culminated in a rendition of “Va’ pensiero” brimming with pathos and intensity.
Piazzolla, The next Tango
Piazzolla, Concerto for Bandoneon and Orchestra
“I began my musical training with Alberto Ginastera. From him I learned the importance of grasping music. On this basis I began to make new arrangements. I composed even string quartets for the members of my tango orchestra. My arrangements were however, ahead of their time, and I soon had to realize that my music was not appreciated by all. This is the same today. In Argentina one can change everything, only not the tango. That was so back then, as if I had taken on another faith, as if I had converted from Christianity to Islam or Buddhism. But I had the idea, lucky for me, above all, of changing the tango¿ I enjoy composing. I do not limit myself to writing concertante or symphonic music, I write everything with pleasure¿ Whoever wants to write contemporary music must not lost his identity. I am Argentine and my music has to be Argentine. My music has to breathe the air of my country. Luckily one has always told me: Your music comes from Buenos Aires.” (Astor Piazzolla)
Piazzolla, Concerto for Bandoneon, Guitar and Orchestra – Adiós Nonino (Tango)
“I began my musical training with Alberto Ginastera. From him I learned the importance of grasping music. On this basis I began to make new arrangements. I composed even string quartets for the members of my tango orchestra. My arrangements were however, ahead of their time, and I soon had to realize that my music was not appreciated by all. This is the same today. In Argentina one can change everything, only not the tango. That was so back then, as if I had taken on another faith, as if I had converted from Christianity to Islam or Buddhism. But I had the idea, lucky for me, above all, of changing the tango¿ I enjoy composing. I do not limit myself to writing concertante or symphonic music, I write everything with pleasure¿ Whoever wants to write contemporary music must not lost his identity. I am Argentine and my music has to be Argentine. My music has to breathe the air of my country. Luckily one has always told me: Your music comes from Buenos Aires.” (Astor Piazzolla)
Arena di Verona Festival 2025: Nabucco
Anna Netrebko stars as Abigaille in Verdi’s Nabucco, one of opera’s most demanding roles, in a spectacular new production set in the ancient amphitheatre of Verona. Featuring futuristic scenery and striking special effects, this modern staging transforms Verdi’s beloved choral drama into a powerful, immersive experience. Directed and designed by Stefano Poda, the production reimagines the story beyond history, presenting a timeless vision of conflict, unity and hope. “Netrebko manages to shape every sound with intention. A performance that combines charisma and discipline, pathos and control” (Rivista Musica)
La Gioconda
Amilcare Ponchielli’s La Gioconda, presented by the Teatro di San Carlo, in a co-production with the Gran Teatre del Liceu of Barcelona, presents a stellar cast under the baton of Pinchas Steinberg: Anna Netrebko, here in one of the most complex roles in the repertoire, shows “her vocal ability with an absolute mastery of her instrument” (Bachtrack). Ludovic Tézier’s Barnaba, “exhibited brilliant ease in every nuance of tone, register and phrasing” (Bachtrack) and Jonas Kaufmann’s Enzo proved his great presence and vocal skills. Romain Gilbert’s stage direction and the excellent performance from the orchestra fullfilled the expectations of a great production.