In this intimate staging of Bellini’s masterpiece opera, Asmik Grigorian’s highly anticipated debut as Norma is “one of the best things to happen to Vienna’s opera stages in a long time” (FAZ). Set in a dictatorship of the 20th century, Grigorian’s Norma is the forewoman of a clay foundry. Vasily Barkhatov’s “convincingly concentrated, intimate staging” (Kronenzeitung) underscores the drama of the love triangle between the three central characters. Grigorian masters the notoriously difficult role with bravura: “Grigorian is a true Callas successor because every gesture and facial expression merges with her musical expression” (Kleine Zeitung). In Aigul Akhmetshina as Adalgisa, “she found a counterpart who has one of the richest mezzo voices of our time” (Die Presse). Freddie De Tommaso as Pollione completes the three-way conflict with his “clean and beautifully sounding” tenor (Oper News). Rounding out the evening musically are the “magnificent in every respect” Arnold Schoenberg Chor (Salzburger Nachrichten). “All in all, a breathtakingly thrilling evening with a perfect interlocking of stage and pit” (Van Magazin).
Rigoletto
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.
Don Giovanni
In the first installment of his Da Ponte cycle at the Vienna State Opera, director Barrie Kosky does what he does best. He focuses the action completely on the characters. “I think characters like Don Giovanni are like mirrors in which we see ourselves. Sometimes like distorting mirrors, sometimes like broken mirrors. Sometimes the image we see is unappetizing”. Indeed, Kosky’s character direction is “impressive” (Klassikpunk), as he uncovers new facets and puts great faith in the singers to deliver his vision. Kyle Ketelsen as Don Giovanni (“vibrant” – Der Standard) and Philippe Sly as Leporello “took centre stage (…) and dared to satirise the burden of tradition” (ORF). Hanna-Elisabeth Müller is “convincing” as Donna Anna and the young Patricia Nolz gives an excellent role debut as Zerlina alongside the “virtuosic” Peter Keller as Masetto. Conductor Philippe Jordan “plays the recitatives delicately and subtly on the fortepiano” and “achieves transparency, tangibility and poetry on the basis of historical accuracy” (Der Standard).
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).
Fedora
An overwhelming story of passion, violence and betrayal, this production of Fedora is a true cinematographic thriller. Director Mario Martone draws on paintings by Magritte for the staging and atmosphere, supported by the noir-inspired stage design by Margherita Palli. Marco Armiliato, giving his Scala debut, “perfectly captures the decadent nature of the opera, drawing on a rich and nuanced colour palette” (Teatro). Soprano superstar Sonya Yoncheva “tackles the title role with all the charisma of the prima donna, with a magnetic
Faust
“Radical and ingenious, unsettling and beguiling” (Kurier), this production of Gounod’s Faust at the Vienna State Opera ticks all the boxes. Legendary director Frank Castorf moves the action to a tumultuous 1960s Paris and draws the audience in with an abundance of elements that seamlessly blend into one: “Everything has its place. There is not a single superfluous video, no detail without meaning, and each of the characters can tell their own story” (News). The action on stage is expertly supported in the pit as Bertrand de Billy “makes the score shine and resonate magnificently” (Tiroler Tageszeitung). The cast is star-studded, lead by Juan Diego Flórez giving his debut as Faust. He sings the role with “impeccable French diction, allowing his warm tenor to shimmer” (Kronenzeitung). Nicole Car’s Marguerite was “beautiful, silvery-toned” (Seen And Heard) and the young bass Adam Palka is convincing as Mephisto, “alternating between devilish, camp, erotic and sadistic” (APA).
Turandot
Director David Livermore presents a stunning new production of Turandot at Teatro alla Scala, blending modern Asian influences with spiritual and fantastical elements. Soprano Anna Netrebko delivers an “imperial” performance, skillfully handling the demanding role. Yusif Eyvazov as Calaf shows “flawless technique,” while Raul Gimene’s Altoum and Vitalij Kowaljow’s Timur receive praise. Rosa Feola’s portrayal of Liù is emotional, culminating in a poignant death scene illuminated by candles. The opera pauses for a moment of silence for Puccini before resuming with the triumphant finale.
Così fan tutte
“The execution is vibrant, the individual voices outstanding, and the ensemble homogeneity even more so.” (Frankfurter Rundschau) To conclude his Da Ponte cycle at the Vienna State Opera, Barrie Kosky turns Don Alfonso into a theatre director rehearsing a stage play with the two young couples at the center of the story: “He presents the Da Ponte opera as a coherent, sophisticated game within a game: a director uses method acting to release feelings that can no longer be controlled” (News). As is typical for a Kosky-lead production, there is constant action, which the ensemble executes with exuberance. Philippe Jordan leads the orchestra of the Vienna State Opera from the pianoforte, managing to “strike a balance between classical beauty and vibrancy, without resorting to tricks and mannerisms to make things exciting” (Kleine Zeitung).
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.