Emilio Sagi

Placido Domingo heads an internationally renowned cast in Emilio Sagi's stylish new production for Madrid's Teatro Real of Moreno Torroba's enduring zarzuela, whose story itself is set in the Spanish capital. Filmed using high definition cameras and recorded in true surround sound.

Today's top bel canto tenor, Juan Diego Flórez, and acclaimed Italian soprano Patrizia Ciofi lead a superb ensemble cast in Donizetti's sparkling opéra-comique from the Teatro Carlo Felice, Genoa. This acclaimed production sets the action in the final days of World War II. Marie is the daughter of an American army captain, Tonio is a young French villager whose love for her leads him to join the American ranks. When the secret of Marie's birth is revealed and her mother insists on an aristocratic suitor, only an appeal to the memory of young love can reunite them...

La del manojo de rosas, the Teatro de la Zarzuela's most emblematic and popular production, turns 30 years old. At its premiere in September 1990, it was very well received by the public and critics, and has continued to be so during the last three decades. Several generations of singers, artists, technicians and the public have enjoyed what is now Sorozábal's best-known zarzuela.

Il mondo della luna (1777) is a sparkling comic opera by Joseph Haydn, with a witty libretto based on Carlo Goldoni’s play. In this award-winning production from the Opéra de Monte-Carlo, co-produced with Teatro Arriaga in Bilbao, visionary director Emilio Sagi crafts a whimsical journey that earned Best New Opera Production at the 2014 Teatro Campoamor Lyric Awards. Set in a world where imagination and deception collide, the story follows the gullible Buonafede, an old man tricked into believing he’s been transported to the moon. Goldoni’s sharp satire on human credulity meets Haydn’s elegant, playful score, full of creative flourishes and refined humor. Known as the father of the symphony and string quartet, Haydn’s operatic genius shines in this delightful fable, long overshadowed by his contemporaries but brought to vivid life in a production brimming with charm, humor, and lunar magic. Prepare for a journey where the moon feels closer than ever!

Juan is now in his fifties, has a protruding belly, dyes his hair gray and lives alone with a cat who has urinary problems, but despite this, women still find him attractive.

Stage director Emilio Sagi's production of the legendary Barber of Seville is enriched by a bright distribution. Maria Bayo returns to one of her signature role as Rosina, opposite Juan Diego Florez, the Rossini expert tenor. The title role is embodied by the Italian baritone Pietro Spagnoli, while Ruggero Raimondi and Bruno Pratico reconcile the audience with Don Basilio and Don Bartolo.

Placido Domingo heads an internationally renowned cast in Emilio Sagi's stylish new production for Madrid's Teatro Real of Moreno Torroba's enduring zarzuela, whose story itself is set in the Spanish capital. Filmed using high definition cameras and recorded in true surround sound.

Today's top bel canto tenor, Juan Diego Flórez, and acclaimed Italian soprano Patrizia Ciofi lead a superb ensemble cast in Donizetti's sparkling opéra-comique from the Teatro Carlo Felice, Genoa. This acclaimed production sets the action in the final days of World War II. Marie is the daughter of an American army captain, Tonio is a young French villager whose love for her leads him to join the American ranks. When the secret of Marie's birth is revealed and her mother insists on an aristocratic suitor, only an appeal to the memory of young love can reunite them...

La del manojo de rosas, the Teatro de la Zarzuela's most emblematic and popular production, turns 30 years old. At its premiere in September 1990, it was very well received by the public and critics, and has continued to be so during the last three decades. Several generations of singers, artists, technicians and the public have enjoyed what is now Sorozábal's best-known zarzuela.

Il mondo della luna (1777) is a sparkling comic opera by Joseph Haydn, with a witty libretto based on Carlo Goldoni’s play. In this award-winning production from the Opéra de Monte-Carlo, co-produced with Teatro Arriaga in Bilbao, visionary director Emilio Sagi crafts a whimsical journey that earned Best New Opera Production at the 2014 Teatro Campoamor Lyric Awards. Set in a world where imagination and deception collide, the story follows the gullible Buonafede, an old man tricked into believing he’s been transported to the moon. Goldoni’s sharp satire on human credulity meets Haydn’s elegant, playful score, full of creative flourishes and refined humor. Known as the father of the symphony and string quartet, Haydn’s operatic genius shines in this delightful fable, long overshadowed by his contemporaries but brought to vivid life in a production brimming with charm, humor, and lunar magic. Prepare for a journey where the moon feels closer than ever!

Stage director Emilio Sagi's production of the legendary Barber of Seville is enriched by a bright distribution. Maria Bayo returns to one of her signature role as Rosina, opposite Juan Diego Florez, the Rossini expert tenor. The title role is embodied by the Italian baritone Pietro Spagnoli, while Ruggero Raimondi and Bruno Pratico reconcile the audience with Don Basilio and Don Bartolo.

Le Nozze di Figaro New Production Teatro Real in co-production with Bilbao’s ABAO and Las Palmas Teatro Pérez Galdós. From the opening notes of the overture to the final curtain, Emilio Sagi’s classic, triumphant production brings to life all the elegant wit and theatricality of Mozart’s comic masterpiece Le nozze di Figaro. Leading baritone Ludovic Tézier shines as the lustful Count Almaviva who attempts to obtain the favors of Figaro’s bride-to-be, Susanna (Isabel Rey), while Luca Pisaroni gives a feisty performance as Figaro. Conductor Jesús López Cobos masterfully captures the enchanting score. A witty yet profound tale of love, betrayal, and forgiveness.

The Gran Teatre del Liceu’s 2017/2018 season opened with Rossini’s dramma giocoso Il viaggio a Reims, the “event piece” written exclusively for the coronation of France’s Charles X in Reims in 1825. Apart from the Rossini Opera Festival in Pesaro (one of the co-producers), this otherwise infrequently performed work has received a bright yet perhaps over-minimalist staging by Emilio Sagi. A fixed set portraying the sun deck and furnishings of a spa hotel (using only the stage front) provides the opera’s eclectic group of European aristocrats an unexpectedly informal aspect from the outset, replete with bathrobes, towels and slippers. This is novel, but confuses the audience as to who is who in the story. Not until the end of the second act, an hour and a half into the performance, does the cast change to more formal dining attire and the audience has a minimally clearer idea of the different nationalities (and idiosyncracies) portrayed.

Gualtiero is an exiled count, forced to become a pirate. His enemy Ernesto blackmails Imogene into marrying him, even though he knows she loves Gualtiero. In the searing final scene Imogene goes insane when Gualtiero is condemned to death. This is riveting bel canto drama as you have seldom hear it.

In the plot for this production the story is updated to the 1970s. Gamberotto is a vegetable import/export merchant. According to the Dynamic website Ernestina is a seductive businesswoman. However when she first appears she drifts about reading a book entitled ‘Love’. Buralicchio becomes an Elvis rocker. Leave the rest of the plot alone, yes, including the castrati part, and you are indeed in the land of the ridiculous. Suspend disbelief? Essential if the plot is to have any relevance.

No synopsis available yet.

At the Inn of the Golden Lily, the most illustrious figures in Europe converge to celebrate a royal French coronation. But between lost luggage, missing horses, and some amorous antics, nothing will happen as planned.

At the Inn of the Golden Lily, the most illustrious figures in Europe converge to celebrate a royal French coronation. But between lost luggage, missing horses, and some amorous antics, nothing will happen as planned. Il viaggio a Reims was Rossini’s last Italian opera and the first he wrote in France for its Paris premiere in 1825 as part of the festivities for the coronation of Charles X. Conceived for the greatest voices of the time, the opera requires an exceptional cast: three prima donna sopranos, an alto, two tenors, and four baritones and basses have leading roles. For Rossini Opera Festival’s Accademia in Pesaro, Il viaggio a Reims has become an annual summer showcase for the next generation of bel canto singers.