La battaglia di Legnano

On the occasion of the 150th anniversary of Italian unity, Ruggero Cappuccio staged a new production of Verdi’s opera “La battaglia di Legnano” for the Rome Opera. Premiered in 1849, this work won Verdi a unique spot in the hearts of the Italian people, making the composer a living symbol of the struggle for liberation and unification. Leading the talented cast are Dimitra Theodossiou as Lida, Andrew Richards as the freedom fighter Arrigo, and Leonardo Lopez Linares as Rolando, Arrigo’s best friend. Boris Brott conducts with the “fire needed for this patriotic opera. [ ]” (Der neue Merker).

La Sonnambula

This ‘spirited and witty’ – in the words of Germany’s prestigious daily Frankfurter Allgemeine Zeitung – new production of Vincenzo Bellini’s (1801-1835) ‘La sonnambula’ dazzles with its lovingly detailed and imaginative sets which reproduce a Swiss alpine resort in the 1930s (Bellini himself set the action in a Swiss village). Complete with a majestic mountain panorama, cable car, post-bus and grand salon, not to mention the colorfully dressed resort guests, set designer Massimo Checchetto deploys an enchanting picture book of visual surprises.

Adelaide di Borgogna

From the Rossini Festival in Pesaro comes the first staged performance since 1825 of “Adelaide di Borgogna”. Set in medieval times, the libretto relates the tale of a king’s widow who is used as a pawn in diplomatic and amorous intrigues. “Adelaide” stars sought-after mezzo Daniela Barcellona as Ottone, and, in the role of Adelaide, young Australian soprano Jessica Pratt, who possesses a natural-born bel-canto voice. Director Pier’ Alli ha devised a modern, stylish look for his production, which interweaves medieval aspects with ironically used elements from the time of the opera’s genesis.

Mosè in Egitto

From the prestigious Rossini Festival in Pesaro comes a thought-provoking interpretation of Rossini’s azione tragico-sacra “Mosè in Egitto”. Topping the cast of high-caliber vocalists are Sonia Ganassi and Dmitry Korchak as two lovers drawn into the political turmoil of their time. Director Graham Vick’s interpretation centers on a condemnation of all religious fundamentalism. Designed by Stuart Nunn, the set evokes a bombed-out edifice and provides a chilling setting for Rossini’s haunting melodies. With the gifted Roberto Abbado on the podium, “the music is free to carry its timeless message” (La Stampa).