With this new production by the Teatro de la Zarzuela, the Italian stage director Davide Livermore and the British musical director Karel Mark Chichon show us a series of pictures of customs that shine through in Luisa Fernanda.

The musical notes of this Puccini masterpiece provide the starting point and foundation for a new, highly successful collaboration between Riccardo Chailly and Davide Livermore. In their interpretation, there is “no moment, no movement, that goes against the musical meaning” (R. Chailly). The result is an energetic, authentic, and atmospherically strong Bohème, “in which every sacred phrase receives its own orchestral colour, its own dynamic and its own expression.” (Corriere della Sera)

A sudden gunshot shatters the dream of two lovers on their wedding day. The fate of Orpheus and Eurydice is cruel: on the very day they sought to seal their love, EurydiceΆs soul embarks on its journey to the underworld. Heartbroken, Orpheus embarks on a perilous journey to bring his beloved back from Hades. A journey that will lead the fearless hero to confront the depths of his emotions and face his greatest fears. This journey will take him through strange worlds and into encounters with some of the greatest musical pieces and arias in the history of music. Will love triumph over death?

As per tradition, the 2021/22 season opened in December at La Scala in Milan, this time with a new production of Giuseppe Verdi's 'Macbeth' directed by Davide Livermore and conducted by Riccardo Chailly. Verdi's Shakespeare drama features a star-studded cast: Anna Netrebko and Luca Salsi embody the regicide Macbeth and his lady.

Princess Aida has been kidnapped: a valuable prize in a war between Egypt and Ethiopia. The ambitious soldier Radames wrestles with his feelings for her. As they draw closer together, each must make a painful choice between their loyalty to home, and their love for each other. his new production of Rome combines the colossal and the intimate. For Michele Mariotti, conductor and music director of Teatro dell’Opera di Roma, Verdi’s genius lies in his managing to combine spectacular, triumphal elements with a love story that unfolds far from public space in delicate pianissimi and sotto voce singing.

First staged at the Teatro La Fenice in 1846, Verdi’s ninth opera, Attila, returns to the stage of La Scala on December 7th. Following the inauguration of the 2015-2016 Season with Giovanna d’Arco and in anticipation of Macbeth, with Attila Musical Director Riccardo Chailly continues his study of Verdi’s early works, renewing a successful collaboration with creative director Davide Livermore that began with his acclaimed production of Donizetti’s Don Pasquale for La Scala. In this complex opera Verdi experiments with fresh perspectives, featuring spectacular historical settings, introspective angles and moral uncertainties. Attila demands of its performers not only passion and confidence, but also the ability to find subtle accents and psychological nuances.

The Biblical story of Belshazzar's hubristic arrogance, set against the valour of the young warrrior-leader Cyrus, provided the 20-year-old Rossini with a dramatic story enriched by West-Eastern implications which still speak to us today. For the title role of Cyrus, Rossini wrote what would be his longest-ever contralto role, to which the great Rossini singer Ewa Podles´ is both naturally attracted and ideally suited. She is partnered by two young stars of Rossini singing, Jessica Pratt and Michael Spyres, and a conductor-scholar, Will Crutchfield, of great experience and sympathy. Filmed in High Definition and recorded in true Surround Sound.

The staging of Gioacchino Rossini's two-act comic opera, with libretto by Cesare Sterbini, at the Teatro dell'Opera di Roma during the 2016/2017 season.