This ever-popular opera is given a fresh point of view in Barrie Kosky’s highly physical production, originally created for Frankfurt Opera. The Australian director is one of the world’s most sought-after opera directors, whose Royal Opera debut with Shostakovich’s The Nose in 2016 was greeted with delight. For Carmen he has devised a far-from-traditional version, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character.
In his 'new life' as a baritone, Placido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi's darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with "Die Soldaten" and "Il trovatore". Domingo is joined by two of Italy's most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo's performance, calling his interpretation of the role "sublime".
In Giuseppe Verdi's little-known early tragedy, a despairing father is torn between love for his family and his duty to a corrupt city. Jacopo Foscari, son of a 15th-century Doge of Venice, is convicted of murder and treason on a trumped-up charge. His wife Lucrezia is sure of his innocence. But the Doge, trapped by the machinations of the city, is forced to make a terrible decision.
The Count Di Luna believes that his younger brother was murdered years before by a vengeful gypsy but still hopes that he may be alive. When he attempts to court the beautiful Leonora, he is enraged to discover that she has a lover – the troubadour, Manrico. Manrico and the Count duel, and afterwards Manrico reveals to Azucena, the woman he believes to be his mother, that when he had the opportunity to kill the Count he felt something holding him back.
Part of Tutto Verdi series - Simon Boccanegra (2010) Parma. Revised version (1881). 'Simon Boccanegra' is an opera with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play 'Simón Bocanegra' (1843) by Antonio García Gutiérrez, whose play 'El trovador' had been the basis for Verdi's 1853 opera, 'Il trovatore'. Simon Boccanegra was first performed at Teatro La Fenice in Venice on 12 March 1857
Two queens on one island. A recipe for disaster. Especially as both have a legitimate claim to the other's throne. They are, after all, related... So the power politics are the name of the game. And, for reasons of state, one of the heads that wears a crown has to roll. Maria Stuarda was laid to rest for more than a hundred years, finally being revived in 1958 in Bergamo under conductor Oliviero de Fabritiis. However the real breakthrough for the opera finally came with Giorgio de Lullo's Florentine production for the Maggio Musicale in 1967 (with set design and costumes by Pier Luigi Pizzi, director, set designer and costume designer at La Scala in 2008). As the two queens, Leyla Gencer and Shirley Verrett, set the vocal standards. Since then, the triumph of Maria Stuarda has been unstoppable.
I Lombardi alla prima crociata (The Lombards on the First Crusade) was Verdi’s fourth opera and received its first performance at La Scala, Milan, in February 1843. The grandiloquent subject matter is fleshed-out with broad-brushed musical and dramatic effects and lavish choral scenes created a correspondingly impressive impact. A great success in Milan, it spread to the rest of Europe within a matter of only a few years.
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