Carlo Lepore

Inspired by Beaumarchais' comedy, Rossini retains all the passion to create this bubbling opera buffa. A native of Venice, the cradle of the commedia dell’arte, Damiano Michieletto is sensitive to the burlesque vein of Rossinian music. He transposes the action of this "unnecessary precaution" into a contemporary Seville inspired by the cinema of Almodóvar. Bartolo’s monumental building, in which Figaro swirls in free electron, allows the director to give free rein to his crazy imagination.

No synopsis available yet.

Gioachino Rossini’s Armida (1817) is a spectacular but relatively rarely performed opera seria, based on Tasso’s Gerusalemme liberata: the sorceress Armida seduces the crusader Rinaldo, creating a conflict between love and military/religious duty. The 2014 Rossini Opera Festival production in Pesaro was directed by Luca Ronconi, with Carlo Rizzi conducting. It featured Carmen Romeu as Armida and John Osborn as Rinaldo, with a notably demanding vocal cast. Ronconi’s staging emphasized the opera’s dreamlike, magical and theatrical dimension rather than treating it as straightforward medieval epic. It was particularly notable for showcasing Rossini’s extreme vocal virtuosity and elaborate ensembles, including the famous Act II finale and the spectacular series of transformations surrounding Armida’s magic.

Donna Leonora, daughter of the Marquis of Calatrava, is about to flee secretly with her lover Don Alvaro (son of the Viceroy of Mexico and an Inca princess). The Marquis bursts in unexpectedly. Alvaro hesitates to raise his weapon against his lover’s father and throws his pistol. As it falls, the pistol goes off and the Marquis is mortally wounded. As he lies dying, he curses his daughter. Don Carlo di Vargas, Leonora’s brother, resolves to avenge his sister and her fiancé for their father’s death. In the turmoil of the chase, Leonora and Alvaro lose track of one another... ‘La forza del destino’ is an opera in four acts by Giuseppe Verdi, with a libretto by Francesco Maria Piave, adapted from the play ‘Don Álvaro o la fuerza del destino’ (Spain, 1835) by Ángel de Saavedra, the Duke of Rivas. Premiered on 10 November 1862 at the Imperial Theatre in Saint Petersburg. From the box set of 27 Verdi operas “Tutto Verdi”. Recorded live at the Teatro Regio in Parma on 2 and 5 February 2011.

For the festivities marking the Pergolesi's tercentenary in his native Jesi, Ignacio García created a new staging of the imperial drama Adriano in Siria. His staging in Jesi's exquisite 18th-century Teatro Comunale Pergolesi includes the delightful comic intermezzo Livietta e Tracollo, thus following the precedent set at the premiere in 1734. A fine Italian cast and the distinguished Accademia Bizantina are led by the Accademia's director, Ottavio Dantone. Contains the intermezzo Livietta e Tracollo.

This colourful and exuberant production was staged by Daminano Michieletto, “one of the truly new voices in stage direction today” (L’Unita). Damiano Michieletto made his international debut at the Wexford Opera Festival in 2003 with a highly-acclaimed production of Weinberger’s Svanda Dudák, named Opera Production of the Year by the Irish Times. Claudio Scimone, a key figure in the international Rossini Renaissance, conducts the Orchestra di Bolzano e Trento and leads a cast of Rossini specialists including Daniele Zanfardino, Olga Peretyatko and Anna Malavasi.

In this new "Marriage of Figaro", Jérémie Rhorer revisits this composer and US film director James Gray makes his first foray into opera. This opera is recorded for broadcast by Louise Narboni.

No synopsis available yet.

Rossini’s opera based on the fairy-tale Cinderella, filmed in real-life Italian locations in the ballrooms and gardens of some of Turin’s finest palaces. For this special production of the opera, the scenes were filmed at the same time of day as they occur in the story, with the famous ballroom scene filmed as the clock struck midnight

No synopsis available yet.

Weary of tragic subjects, for the final part of Il Trittico Puccini composed a grand confidence trick orchestrated by a falsifier willing to do anything to gain wealth. Including bringing back the dead!

A drama based on the life of 18th century Italian lyricist Lorenzo da Ponte, who collaborated with Mozart on his "Don Giovanni" opera.