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 DI 2MONDI CE N'È UNO
SERENA AUTIERI A SPOLETO56 - Di due mondi ce n’è uno
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Il Matrimonio segreto
Ivor Bolton

THE SECRET MARRIAGE



comic drama in two acts

music Domenico Cimarosa
libretto Giovanni Bertati

first performance February 7, 1792
Burgtheater, Vienna

conductor Ivor Bolton

Orchestra del Teatro Petruzzelli di Bari

direction and scenography Quirino Conti
set in La scena ricca of the painter Domenico Bruschi (1840-1910)
costumes Piero Tosi
lighting design Vinicio Cheli

new production Spoleto56 Festival of 2Worlds

characters and performers
Geronimo Omar Montanari
Elisetta Valentina Farcas
Carolina Barbara Bargnesi      
Paolino Emanuele d’Aguanno
Fidalma Teresa Iervolino
Conte Robinson Davide Luciano
servants Matteo Bufalini, Carlo Alberto Costanzi Petrancola, Giovanni Di Costanzo, Mirko Peruzzi

assistant conductor/harpsichord Luke Green
associate director Nicola Zorzi
stage movements Alberto Bellandi
hairstyles Maria Teresa Corridoni
make-up Franco Corridoni

assistant stage director Michele della Cioppa
costume assistant Santina Cardile
piano master Eugenio Krizanovski
stage and production assistant Roberta Mori
stage assistant Meri Piersanti
master electrician Silvia Mendicino

technical manager Ottorino Neri
production manager Maya Dimova
technical management coordinator Daniele Di Battista
technical secretaryship Silvia Preda
assistant to technical manager Alessia Forcina
lighting supervisor Graziano Albertella
stagehand supervisor Paolo Zappelli
stage director Rodolfo Santoni
stagehands Antonio Verde, Fausto Pagliarola
chief electrician Simone De Angelis
electrician Marco Mosca
phonic Andrea Bisaccioni
propman Elena Briguori
costume shop supervisor Chiara Crisolini Malatesta
seamstresses Claudia Zampolini, Serenella Orti, Marian Osman Mohamed,Giuliana Rossi
hairstyle assistant Rosario Adaldo
make up assistant Ilaria De Riso
costumes made by Tirelli Costumi Roma
wigs Rocchetti & Rocchetti srl
shoes Pompei
props E. Rancati srl Roma
jewels Jewel House
stage material Tecnoscena srl
audio/video service Opera26 di Andrea Bisaccioni Spoleto
lights SPANensemble di Graziano Albertella Spoleto
pianos Angelo Fabbrini
transports GBANG S.r.l.



Since its first successful performance to our day and age, The Secret Marriage has been on the programs of the major opera houses around the world and is still considered a lively work, full of freshness and one of the comic operas par excellence.
It was the only opera in history that, upon the will of the Habsburg Emperor of the time (Leopold II), was replicated completely in the same evening of the "première."

The secret marriage is the one signed by a young man who works in a shop (Paolino) with the owner’s daughter (Carolina).
The father Geronimo, a wealthy merchant, eager to marry his two daughters to titled spouses, begins with the eldest (Elisetta), for whom he has already arranged her marriage to Earl Robinson with the promise of a hefty dowry. He can therefore announce the agreement triumphantly to the family and reassure Carolina that the time will come even for her to marry an aristocrat. Meanwhile Earl Robinson arrives and is immediately more attracted to Carolina than to the bride, causing the onlookers’ dismay. He then manages to be alone for some time with the favorite of the two sisters, and takes advantage to propose marriage. In an effort to discourage him, Carolina says she is a simple girl, not at all interested in nobility and a good life. The Earl does not lose heart and renews the advances shortly after, but this time he is discovered by Elisetta, who in tears accuses him of infedility and calls all the people of the house for help. In a private talk with Geronimo, the Earl admits he does not want to honour the agreed commitment, but says he is ready to give up half of the dowry if he can marry Carolina in exchange for Elisetta The idea of such substantial savings calms the old man’s fury and paves the way for a new agreement. The two secret spouses are dismayed with the novelty, because Paolino had hoped on the help of the Earl, his former master, to reveal the union with his daughter to Geronimo. Then another problem comes up: Fidalma, the girls’ aunt, widow looking for a new husband, has set her eyes on Paolino and due to a misunderstanding, she is convinced that he returns her interest. The situation seems to come to a head. Paolino convinces Carolina to run away with him. Fidalma and Elisetta instead convince Geronimo to send Carolina to a retreat’ and insist that the Earl keep the first commitment. Everything will be done the next day. It’s night time and everyone goes to his room, but no one really sleeps: Paolino and Carolina are preparing to flee when a noise makes them recoil; Elisetta believes that the Earl and her sister are closed in the room and calls her father and aunt to witness; the Earl feels accused and comes out demanding an explanation. The comings and goings lead to the discovery of the couple, who finally reveal their secret to Geronimo. At that point the Earl agrees to marry Elisetta and intercedes in favor of Paolino and Carolina. Elisetta and Fidalma do the same, until Geronimo’s wrath gives way to forgiveness and general cheerfulness.

When I saw the admirable restoration of the "rich scene" of the painter Domenico Bruschi, curated by the Carla Fendi Foundation for the Teatro Caio Melisso, it seemed appropriate, indeed necessary, to think of an opera to be represented in those wonderful "scenes" brought to light with such mastery."
The Secret Marriage by Domenico Cimarosa seemed to me the ideal Opera for that stage and for that setting.
Ivor Bolton, a brilliant director, leading the Orchestra of the Teatro Petruzzelli in Bari was chosen and Alessio Vlad, with the usual care and attention, selected a Singing company composed of young talents.
The direction and the stage scenery was entrusted to Quirino Conti and Piero Tosi was back at work creating sublime costumes for the occasion.
This staging is the first of a project which, in the next few years, will make use of the Caio Melisso to host rare eighteenth-century operatic repertoires that are appropriate for the characteristics of this Theater which stand out like a precious jewel in the panorama of Italian theaters.
Giorgio Ferrara

On December 26, 1955, the Matrimonio Segreto by Domenico Cimarosa, inaugurated the Piccola Scala in Milan.
Thus began one of the most stimulating musical seasons in our history.
In that hall, which left a void never filled to this day, as it no longer exists, the seventh-eighth century repertoire and the modern and contemporary found the ideal venue.
It is no coincidence, then, that today that same title is staged in the renovated Teatro Caio Melisso, thanks to the generosity of Carla Fendi, which, opens for the first time in its new guise to Opera.
And what an Opera!
Everyone knows the story of the great success of the first performance, that Emperor Leopold II asked, or rather ordered, after having invited everyone to lunch, to repeat the work again: perhaps the longest encore in History.
Evidently the work fully corresponded to the taste of the time, interpreting the moods perfectly.
The values and social hierarchies, unlike Mozart, were not affected, egalitarianism, necessary to the unfolding of the plot, is unconnected to any ideological suggestion and the adventure fully reflects the atmosphere that dominated the Viennese society of the 1790s.
From this point of view the reasons for the outcome of the first performance appear very clear: the Viennese public of the time, after the decline of utopias, basically asked the opera buffa for some reassuring entertainment.
But what is absolutely extraordinary is how this masterpiece, loved by Stendhal too, unlike many other works that had had unconditional success at the time, remains a masterpiece even today, and not only, as such it has always been considered, having remained continuously in repertoire.
The perfect blend among pathos, melancholy and comedy, between comic and grotesque, which, together with an irrepressible vitality, give the tone of the action, remains very current and has a value that transcends any eighteenth-century style and convention becoming one of the absolute symbols of Italian opera buffa.
Alessio Vlad

Inevitably, with the passing of time, sooner or later music pervades every space of sensitivity. Because nothing is more expressive, sincere and moving. More immaterial. At a concert or an opera performance, I often scrutinize the orchestra, the choir and the singers, as if they belonged to a different condition, redeemed from all limits. I cannot take my eyes off that humanity, which appears to me saved from the risk of irrelevance. Origin of an expression that, in a privileged language, pours out upon the spectators like a revelation. Instead of words which, alone, would not be able to say anything more profound and sincere.
That’s how I approached The Secret Marriage of Cimarosa. Like a coded language, an extraordinary word that I was asked to represent for those who had chosen to listen to it.
In all these years, for my work, I have lived with images, I have filled my eyes with them: but coming to this appointment, nothing seemed more effective and contemporary to me than the actual substance of music. The story of those events suspended from realism and in an objective condition of poetry. Definitely the last liturgy of this modernity, when on stage - each in his own role and within the indications of the score - what is recounted becomes almost absolute. And totally human.
That’s how I wanted to narrate The Secret Marriage, as if we had received it from a meteorite, from another world. Which of course is not only the eighteenth century, but the place of the soul where the same feelings are eternally repeated, immutable. Always so amazing.
Quirino Conti

The costume is the husk of a character; its depiction, the result of a complex aesthetic elaboration.
The project always starts with a face: it is from there, in fact, that the character begins to take shape. From an expression. Then from a style of clothes. Up to the posture and gait.
And in this case, then, which eighteenth century? Always in Spoleto with Visconti for the Manon, the eighteenth-century costumes narrated were reinterpreted by Favretto into very late nineteenth century!
And for The Secret Marriage too dates follow, shift, each referring to another: 1792 first performance of the opera, 1766, the year of publication for The Clandestine Mariage, Colman and Garrick’s comedy which Cimarosa refers to explicitly; and then, going back, Le Mariage à la Mode, the cycle accomplished by Hogarth and divulged as engravings in 1745. And then 1786: Le nozze di Figaro, still in Vienna, at the Burgtheater...
With Quirino Conti asking me for characters like "exquisite objects", before anything else the fixed theater scene was kept in mind: that magnificent scene that has been recently restored. Then, the scene and the Music. And upon that livid pink, tone of the backdrop, the figures and characters are outlined.
Elisetta and Carolina, the two sisters, interchangeable in their polonaises dated around 1770: in three shades of pink, as if they were bonbons.
Mr. Geronimo, with a very old-fashioned tailcoat between 1710 and 1720, is wearing a late seventeenth-early eighteenth century wig.
And Aunt Fidalma, flaming in military-like caraco of 1760-70.
The Earl Robinson, on the contrary, is a very modern London incroyable, perfectly 1790.
Paolino, finally, is completely black. Almost like an abbot or a preceptor.
Piero Tosi


IVOR BOLTON 
Ivor Bolton became Chief Conductor of the Mozarteum Orchestra Salzburg in 2004. He was Music Director of English Touring Opera in 1991/2, Music Director of Glyndebourne Touring Opera from 1992-1997, Chief Conductor of the Scottish Chamber Orchestra from 1994-1996, and was the founding music director of the Lufthansa Festival of Baroque Music and the St James’s Baroque Players in London.
Since his debut in 1994 Ivor Bolton has developed a close relationship with the Bavarian State Opera in Munich where he has conducted many new productions, including a sequence of Monteverdi and Handel operas. He was presented with the prestigious Bayerische Theaterpreis by the Prime Minister of Bavaria in November 1998.
Ivor Bolton made his Covent Garden debut in 1995, and has enjoyed a long association with Glyndebourne. Other UK operatic engagements have taken him to English National Opera, Welsh National Opera, and Opera North.
He made his Salzburg Festival debut in 2000 with Gluck’s Iphigenie en Tauride and has returned each year since then including three Mozart operas in the 2006 Mozart year, Haydn’s Armida in 2007, Theodora at the 2009 Festival (recently released on DVD), Le Rossignol / Iolanta in 2011 and Das Labyrinth in 2012. Elsewhere in Europe he appears regularly at the Maggio Musicale in Florence and in other major houses including Paris, Hamburg, Amsterdam, Brussels, Geneva, Dresden, Leipzig and Madrid. Operatic engagements outside Europe have included San Francisco, Sydney, and Buenos Aires.
Ivor Bolton has worked with many of the UK’s principal symphony orchestras, as well as with leading orchestras throughout the world, where concert engagements in recent seasons have included Vienna, Salzburg Festival, New York, Boston, the Royal Concertgebouw Orchestra in Amsterdam, Paris, Florence, Milan, Rotterdam, WDR Cologne, Philharmonisches Staatsorchester Hamburg, Academia Nazionale di Santa Cecelia in Rome, Handel’s Athalia with Concerto Kln in New York, Paris and London and the Zrich Tonhalle Orchestra, with whom he conducted Beethoven’s Ninth Symphony over New Year 2005/6. He made his debut at the Proms in 1993, conducted Bach St John Passion at the Proms in 2000, and the Mozarteumorchester in 2006.
Recent and future operatic engagements include Die Zauberflte and Alceste for the Wiener Staatsoper, Orfeo at Theater an der Wien, Der Fliegende Hollnder and Von Winter’s Das Labyrinth in Salzburg, Peter Grimes in Dresden, Iphigenie en Tauride at Covent Garden and in Paris, Tamerlano for Covent Garden and Munich, Cavalli’s Ercole Amante, Billy Budd, Deidamia and Armide for Netherlands Opera, Jenufa and Alceste for the Teatro Real in Madrid, Entfhrung in Barcelona and Munich, Le Nozze di Figaro, Medea in Corinto and Mitridate in Munich, Il ritorno d’Ulisse and Rinaldo in Zurich and Alceste at the Aix Festival. Recent and future concert engagements include performances with the Mozarteum Orchestra Salzburg both in Salzburg and on tour throughout the world. Guest engagements include the Netherlands Philharmonic, the NDR Hamburg, Hamburg Philharmonic, Munich Philharmonic, Munich Chamber Orchestra, Cologne Philharmonie, RAI Turin, Bergen Philharmonic, Bamberg Symphony, Deutsche Kammerphilharmonie, Geneva Chamber Orchestra, Junge Deutsche Philharmonie, Orchestra de Chambre de Paris, Danish National Radio Symphony, Real Filharmonia de Galicia, Royal Northern College of Music and performances at the Spoleto, Dresden and Salzburg Festivals.
His many recordings with the Mozarteum Orchestra Salzburg include Bruckner Symphonies Nos 3, 5, 6, 7, 8 and 9, Berlioz’s L’enfance du Christ, Haydn’s Creation and The Seasons, as well as a wide repertoire of Mozart, and other recordings include Xerxes, Ariodante and Poppea from Munich.

TEATRO PETRUZZELLI ORCHESTRA AND CHOIR 
The Orchestra and Choir of the Teatro Petruzzelli were established at the end of 2012, following a public competition for examinations held by the Fondazione lirica pugliese. Daniele Rustioni, new music director of the Fondazione Petruzzelli, assumed the position of the direction of the new organic; Franco Sebastiani is the Master of the Choir. The young orchestra musicians and choir masters, who have received unanimous approval from audiences and critics, and the enthusiastic appreciation of the Directors who had already guided them, in the Season 2013 of the Teatro Petruzzelli have to face challenging symphonic, operatic and ballet programs, conducted by masters of international stature: Daniele Rustioni, Asher Fisch, Tonino Battista, Daniel Kawka, Pascal Rophé, Marco Angius, Jonathan Webb, Renato Rivolta, Francesco Lanzillotta, Fabio Maestri, Corrado Rovaris, Karl-Heinz Steffens, Keri-Lynn Wilson, Alain Guingal, Roberto Abbado, Carlo Rizzari, Daniele Callegari, Boris Gruzin.

QUIRINO CONTI
"The most intellectual and eclectic of the Designers" - as defined by Natalia Aspesi - lives diverging and parallel lives constantly commuting between fashion, architecture, theater and cinema. He is very young, still at high school, when Orson Welles asks him to design the costumes for his Don Quixote. So, while studying architecture (he graduated in Rome with Bruno Zevi), he discovers haute couture in the Carosa atelier of Princess Giovanna Caracciolo and debuts in cinema with Alberto Lattuada. As a designer he collaborates with the most prestigious international industrial groups: for Valentino he is responsible for the presentation of the haute couture and ready-to-wear collections, first in Rome and then in Paris, and as creative director his name is on collections of great success for Krizia, Trussardi and Valentino. For his cult essay Never will the World know: Conversations about Fashion, published by Feltrinelli and for numerous journalistic collaborations (La Repubblica, L’Espresso, Dagospia, MF), he is acknowledged a critical role of great value".
(from the Dictionary of Fashion, Baldini Castoldi Dalai)

He is the author of important theatrical productions, including a very celebrated Falstaff with Ruggero Raimondi at the Grand Thétre of Geneva; the Socrate by Vincenzo Cerami for the Piccolo Teatro of Milan-Strehler Theater, directed and interpreted by Gigi Proietti with musico by Oscar-winning Nicola Piovani; the Benvenuto Cellini and Mozart operas for the Teatro dell’Opera of Rome: Le nozze di Figaro, Don Giovanni, Die Zauberflte-The Magic Flute, with the artistic collaboration of Fendi (the last two replicated for the Estate Romana in Piazza del Popolo with eighty thousand spectators for the Don Giovanni and more than one hundred and fifty thousand for Die Zauberflte).
In Spoleto, for the Foundation Carla Fendi he created and directed Theatre Minute: presentation of the restoration of the Historical Curtains for the Teatro Caio Melisso-Spazio Carla Fendi, with the extraordinary participation of Peppe Barra in a costume specially created by the great Piero Tosi and the cultured narration of Philippe Daverio (55th Festival dei Due Mondi, July 2012).

PIERO TOSI
Creator of unforgettable clothes, Piero Tosi is among the most acknowledged Italian costume designers of theater and cinema, able to reconstruct the atmosphere and the costumes of an era with antiquarian taste and fantastic invention, summarizing creativity, genius and deep passion in his work. Trained at the Academy of Fine Arts in Florence under the guidance of Ottone Rosai, he began his career in 1947 with the show The candlestick by Alfred de Musset and directed by Franco Enriquez, then worked as assistant to Maria de Matteis on the costumes of Troilus and Cressida by W. Shakespeare, directed by Luchino Visconti. From that moment, he became a valuable collaborator for Visconti, enhancing his philological realism, the passion for details and accessories, and adapting to the different needs of his direction (for the theater Uncle Vanya, 1955; Macbeth, 1958; Dommage qu’elle soit une p ..., 1961; for the cinema Senso, 1954;The White Nights, 1957; The Leopard, 1963; The Damned, 1969; Death in Venice, 1971; Ludwig, 1972; The Innocent, 1976). In theater, among others, he has worked with Zeffirelli (Lulu, 1950; Eurydice, 1960), and Enriquez (Beatrice di Tenda, 1959), in cinema with Bolognini (Il bell’Antonio, 1960; Arabella, 1967), Fellini (Three Steps in the delirium, episode of Toby Dammitt, 1968), Cavani (The Night Porter, 1974; Skin, 1981), Zeffirelli (Story of a blackcap, 1993) and Amelio (The House Keys, 2004).
Defined by Franco Zeffirelli as one of the last survivors of a world that no longer exists, Piero Tosi brings his art back on stage again to Spoleto after several years in which he had devoted himself mainly to teaching.

VINICIO CHELI
In 1973 he graduates in stage designing from the Academy of Fine Arts in Florence. From 1974 to 1979 he works on all the productions of the Maggio Musicale Fiorentino. From 1979 to 1989 he takes part in the work of the Piccolo of Milan where he is lighting assistant for Streheler. He starts working for the Rossini Opera Festival in 1987 and for the Festival of Salzburg in 1989 where he produces various shows. Among the many prestigious productions that he has worked for: in 1990 he participates at the inauguration of the Bastille Opera and the year after he is at the Festival of Aix En Provance with Castor and Pollux; in 1992 he works at the staging of Baiadera Rudolf Nureyev’s last ballet at the Opera Garnier of Paris; he then collaborates with Ronconi (Falstaff, 1993; Otello, 1994) and with Grber (Erwartung, 1995; Otello, 1996); in 1998 he works at the staging of Parsifal for the National Reis Opera, of Aida for the re-opening of the Teatro Massimo in Palermo, of Lucrezia Borgia with Hugo de Hana for La Scala, of Lucia di Lammermoor at the Metropolitan of New York; in 1999 he sets up La Forza del Destino and Manon at the Teatro alla Scala, inaugurates the Salzburg Easter Festival with Tristan, the Gran Teatre del Liceu of Barcelona with Turandot and the Opera season at La Scala of Milan with Fidelio directed by W. Herzoc; in 2001 he collaborates with Zeffirelli in the Aida at the Teatro Verdi of Busseto, with Carl Philip von Maldeghem in Simon Boccanegra at the Teatro Comunale of Ferrara, with Nicolà Joel in Das Rheingold, Otello and Mignon at the Thétre du Capitole of Toulouse. In the last ten years , he has been working constantly with the Thétre du Capitole of Toulouse and with the Teatro Real of Madrid and has staged numerous other Operas, including, Don Giovanni and Le Nozze di Figaro at the Teatro dell’Opera of Roma with Gigi Proietti, Le Roi de Lahore and Luisa Miller at the Teatro La Fenice of Venice with A. Bernard, Peter Grimes at the Teatro Liceu of Barcelona with L. Pasqual, La Traviata at the Teatro Comunale of Florence with Cristina Comencini, Thais at the Megaron Theater of Atene with A. Bernard, La donna del lago at the Opera Garnier of Paris with L. Pasqual, Boris Godunojv at the Teatro Regio of Turin with Konchalovsky. He has also staged: Senso a new Opera written for the 150th anniversary of the Unification of Italy at the Teatro Massimo of Palermo; Tosca and Der fliegende Hollnder at the Opera of Peking directed by Giancarlo Del Monaco; Medea at the Syros Festival of Aegean directed by Theodorakis; La bella addormentata/Sleeping Beauty ballet which inaugurated the re-opening of the Bolshoi Theater in Moscow closed for over twenty years; Il burbero di buon cuore at the Teatro Liceu of Barcelona under the direction of Irina Brook; Ballo in maschera in 2012 at the Peking Opera with Hugo de Ana.
Vinicio Cheli has taught illuminating engineering at the New Academy of Fine Arts, Milan and the Professional School of La Scala.

BARBARA BARGNESI Soprano
Born in Genoa she gained a degree in piano and voice at the Conservatory N. Paganini in her home town.
In 2004 she won the As.Li.Co. contest in Milan and debuted the role of Sophie in J. Massenet’s "Werther". In 2005 she won the first prize at the Concorso Lirico Internazionale Capriolo and in 2006 the Toti dal Monte contest in Treviso, where she debuted the role of Nannetta in Falstaff.
Her operatic appearences include: Adina in L’Elisir d’Amore in Pavia, Brescia, Cremona and Como, Corinna in Il Viaggio a Reims, Elvira in L’Italiana in Algeri and Euridice in Adelaide di Borgogna at the Rossini Opera Festival in Pesaro; Nannetta in Falstaff at the Stadttheater Bern (Switzerland), at the Vlaamse Opera Antwerp and at the Teatro Regio Parma; Zerlina in Don Giovanni in Salerno; Dircea in Demofoonte by N. Jomelli conducted by Riccardo Muti at the Salzburg Festival, Opera Garnier Paris and Ravenna Festival. With M Muti she has also performed Cabri in La Betulia Liberata by W. A. Mozart at Salzburg Festival and at the Teatro Alighieri Ravenna. She also sang Gilda in Rigoletto at the Carlo Felice Theatre in Genoa, at the Teatro Regio Turin and at the Royal Opera House Muscat (Oman); Ilia in Idomeneo at Teatro Comunale Ferrara, Teatro Comunale Modena, Teatro Dante Alighieri Ravenna, Teatro Comunale Bologna and Teatro Valli Reggio Emilia; Giannetta in L’Elisir d’Amore at the Teatro alla Scala Milan; Marzelline in Fidelio at the opening of Teatro Regio Turin’s 2011/2012 season. Recently she has appeared as the Italian Singer in Capriccio at Opera Garnier Paris and as Despina in Così fan tutte, Oscar in Un Ballo in Maschera and Carolina in Cimarosa’s Il Matrimonio Segreto at the Teatro Regio Turin.

EMANUELE D’AGUANNO Tenor
One of the most promising young tenors in his generation, he studied at the Pedrollo Conservatory in Vicenza, and he now studies with William Matteuzzi and Ramon Vargas. He imposes himself at the "Toti dal Monte" Competition in Treviso (Paolino in Cimarosa’s Il matrimonio segreto), and immediately started an intense activity which led him to perform quickly in many important houses in Italy and abroad.
He has sung in operas by Purcell (Eneas in Dido and Aeneas), Paisiello (Conte d’Almaviva in Barbiere di Siviglia), Mozart (Contino Belfiore in La finta giardiniera, Agenore in Il re pastore, Ferrando in Così fan tutte), Cimarosa (Paolino in Il matrimonio segreto), Rossini (Conte d’Almaviva in Il barbiere di Siviglia, Don Ramiro in La Cenerentola), Donizetti (Nemorino in L’elisir d’amore, Ernesto in Don Pasquale), Britten (Lysander in A midsummer night’s dream), Wagner (Shepherd and Young sailor in Tristan und Isolde).
In 2004 he’s a finalist and idoneo for the role of Nemorino in L’elisir d’amore, at the 55th Concorso per giovani cantanti lirici held by As.Li.Co.
In 2005 he makes his debut at the 31st Festival della Valle D’Itria in Martina Franca in Cherubini’s Lo sposo di tre e marito di nessuno (Don Martino) conducted by Dimitri Jurowskj. He then appears at the Stadttheater in Klagenfurt as Arturo in Donizetti’s Lucia di Lammermoor. The following year he sings Edmondo in Puccini’s Manon Lescaut at Teatro Regio in Turin directed by Jean Reno, and in February he’s Filipeto in Wolf-Ferrari’s Quatro rusteghi at La Fenice in Venice.
At Teatro Municipale in Piacenza, in October 2006 he sang Ferrando in Mozart’s Così fan tutte with Fondazione Toscanini di Parma, and at the Stadttheater in Klagenfurt he sings Nemorino in L’elisir d’amore.
He returned to Gran Teatro La Fenice in Wolf-Ferrari’s La vedova scaltra, and in May 2007 made his debut at Bunka Kaikan in Tokyo and as Duca di Mantova in Rigoletto. He then revived the roles of Ferrando in Così fan tutte and Fenton in Falstaff in Pavia, Como, Brescia e Cremona for two consecutive seasons. He also made his debut in Frankfurt as Cavalier Belfiore in Rossini’s Viaggio a Reims.
Among his most important recent engagements: Nemorino in L’elisir d’amore conducted by Bruno Campanella and Die Frau ohne schatten conducted by da Zubin Mehta at Teatro Comunale in Florence, L’elisir d’amore at Bunka Kaikan in Tokyo, Lucrezia Borgia directed by Christoph Loy at the Bayerische Staatsoper in Munich, Salieri’s Il mondo alla rovescia at Teatro Filarmonico in Verona, Verdi’s Otello (Cassio) at the Canadian Opera in Toronto, Hasse’s Piramo e Tisbe with Europa Galante conducted by Fabio Biondi at the Whistun Festival in Salzburg and in Montpellier, Don Pasquale (Ernesto) at Teatro Olimpico in Vicenza and Don Giovanni (Don Ottavio) in Glyndebourne, the world premiere of Tutino’s Senso directed by Hugo De Ana in Palermo, Manon Lescaut at the Opéra de Montpellier, Der Rosenkavalier (Sanger), Turandot (Pong), Così fan tutte (Ferrando) and Mayr’s Medea in Corinto (Egeo) conducted by Ivor Bolton at the Bayerische Strastoper in Munich, Il ritorno di Ulisse in patria (Giove and Anfinomo) for his debut at Teatro alla Scala in Milan conducted by Rinaldo Alessandrini and directed by Robert Wilson and at Theater an der Wien, Il Matrimonio segreto (Paolino) at Teatro Regio in Turin.
Among his future engagements: Lucrezia Borgia, Der Rosenkavalier, Turandot, Verdi’s Macbeth (Malcolm) and Lucia di Lammermoor (Arturo) at the Bayerische Strastoper in Munich, La Traviata at the Glyndebourne Festival, Lucia di Lammermoor (Arturo) at the Metropolitan Opera.

TERESA IERVOLINO Mezzosoprano
Born in Bracciano (Rome) in 1989, immediately show her interest inmusic and at the age of 8 started to study piano.
Then, drawn from the work, she decides to dedicate herself tosinging, while continuing to study piano and alongside
composition. In 2007 she studied at Conservatory "D.Cimarosa" of Avellino where in 2011 she graduate with honors and later she took part of some masterclasses with Marco Berti, Domenico Colajanni, Alfonso Antoniozzi, Daniela Barcellona, Bernadette Manca Di Nissa, Bruno Nicoli and Stefano Giannini.
In 2008 she sang in a series of lyric-symphonic concerts in Campania. In November 2011 she performed as a mezzo-soprano in the concert-lecture by Vincenzo Ramon Bisogni at Piccolo Teatro in Florence in collaboration with the Foyer and the Teatro del Maggio Musicale Fiorentino. In 2010 she won the third prize at the international opera contest "Città di Ravello." In 2012 she won the 63rd competition for young opera singers ASLICO, and after her victory of ASLICO she
performs in various shows of the Circuito Lombardo. In 2012 she won First Prize at the International Competition lyric " Città di Bologna" and Special Awards "Gigliola Frazzoni" and "Anselmo Colzani."
On the occasion of the Competition "Città di Bologna" she take part of a masterclass of Cinzia Forte and the stage director Francesco Micheli. Then she won the First Prize at the International Opera Competition Salicedoro, and at the International Opera Competition "Maria Caniglia" and she won the As.Li.Co. 2013 for the title role of Tancredi.
In May 2012 she made her debut at Teatro Filarmonico in Verona with Pulcinella of Stravinskj. then she appeared as Maddalena in Rigoletto in Chieti and as Isabella in L’italiana in Algeri in Como and Ravenna.
Among her future engagements Miss Bagott in The Little Sweep at the Teatro Regio of Torino, the title role in Tancredi with As.Li.Co. and Clarice in La pietra del paragone at Thétre du Chtelet in Paris.

OMAR MONTANARI Baritone
Born in Riccione, he gets his degree in singing at the Rossini Conservatory in Pesaro under Luisa Macnez, attending then courses with such distinguished artists as: William Matteuzzi, Michael Aspinall, Alberto Zedda, Raina Kabaivanska and Renato Bruson.
Winner of the 59th "A. Belli" Competition in Spoleto, in 2000 he makes his debut as Aeneas in Purcell’s Dido and Aeneas at Auditorium Pedrotti in Pesaro.
He’s immediately engaged for: Puccini’s Gianni Schicchi (Marco), Cimarosa’s Il Matrimonio Segreto (Geronimo and Conte Robinson) at Teatro Arriaga in Bilbao and in Dordrecht, where he also sings Rossini’s Barbiere di Siviglia (Don Bartolo); Rossini’s Il Viaggio a Reims (Trombonok) at Rossini Opera Festival in Pesaro.
This was followed by: Fioravanti’s Le Cantatrici Villane (Don Marco) in Lecce; Mozart’s Le Nozze di Figaro (Figaro) in Spoleto and Tokyo (2004 Japan Tour); Gnecco’s La Prova di un’Opera Seria (Poeta Pasticci) in Kyoto; Puccini’s La Bohème (Schaunard) and Rossini’s L’Italiana in Algeri (Haly) in Spoleto; Coccia’s Arrighetto (Conte Ludovico) at the Rossini Opera Festival and in Novara; Mozart’s Don Giovanni (Leporello) in Bilbao; Don Pasquale (Malatesta) at Teatro della Fortuna in Fano; Scarlatti’s La Dirindina (Don Carissimo) in Spoleto; Elisir d’Amore (Dulcamara) in Como; Rossini’s Barbiere di Siviglia (Don Bartolo) in Tokyo, at Teatro Vittorio Emanuele in Messina and in Doha; Scarlatti’s La Dirindina and Albinoni’s Pimpinone (title role) in Spoleto; Mozart’s Così fan tutte (Don Alfonso) in Brescia, Cremona, Como and Pavia.
He has worked, among others, with such distinguished conductors as: Giuliano Carella, Leopold Hager, Pietro Rizzo, Marcello Rota, Marcello Panni, Diego Fasolis, Carlo Palleschi, and directed by prestigeous names as: Dario Fo, Beppe de Tommasi, Ezio Toffolutti, Emilio Sagi, Giovanni Scandella, Giorgio Pressburger, Rosetta Cucchi, Ronerto Recchia, Massimo Ranieri.
Among his recent engagements: La Cenerentola (Dandini) in Spoleto, Tokyo, Osaka, Nagoya, Atri, Fermo and Ortona; Rossini’s Il Viaggio a Reims (Don Alvaro) in Piacenza and (Trombonok) Trento with Fondazione Toscanini; Cimarosa’s Il Matrimonio Segreto (Geronimo) in Istanbul and Ankara; La Cecchina ossia la buona figliola in Sassari; Werther (Johann) at Teatro Regio in Parma conducted by Michel Plasson, Italiana in Algeri (Haly) at Teatro Regio in Turin, Matrimonio segreto (Conte Robinson) in Spoleto, Cenerentola (Don Magnifico) and Il Barbiere di Siviglia in Brescia, Como, Pavia, Cremona and at Teatro Municipale in Piacenza, Il barbiere di Siviglia (Bartolo), L’inganno felice (Tarabotto) L’occasione fa il ladro (Parmenione) and La cambiale di matrimonio (Tobia Mill) at Teatro La Fenice in Venice, Mercadante’s I due Figaro (Plagio) conducted by M Riccardo Muti in Salzburg, Ravenna and Madrid, La gazza ladra in Verona, Herodiade at the Salzburg Festival, Così fan tutte (Don Alfonso) in Bergamo.
Among his future engagements: Il barbiere di Siviglia (Bartolo), L’Elisir d’amore (Dulcamara), La scala di seta (Germano) and L’inganno felice (Tarabotto) at Teatro La Fenice in Venice, Così fan tutte (Don Alfonso) in Sassari, L’Elisir d’amore (Dulcamara) at the Rome Opera.

VALENTINA FARCAS Soprano
Valentina Farcas’ Salzburg Festival debut as Blonde in Die Entfhrung aus dem Serail was met with wide critical acclaim "The petite soprano with the pliant voice threatened at times to physically and vocally upstage the real heroine" and was released on DVD on the Decca label. Recent engagements include a return to the Salzburg Festival in concerts of
Mozart Die Schuldigkeit des Ersten Gebots with Ivor Bolton at the Salzburg Mozarteum, Pamina in Die Zauberflte in the Opera-Gala at the Badisches Staatstheater Karlsruhe, Marzelline in Fidelio at Teatro Lirico di Cagliari, Carmina Burana with the Royal Scottish National Orchestra, a concert performance of Vivaldi Gloria with Teatro San Carlo Napoli, Gilda in Rigoletto with the Deutsche Oper am Rhein Duesseldorf, Asteria in Glueck’s Telemaco at Theater an der Wien with Maestro Rene Jacobs, her role debut as the title character in Lucia di Lammermoor at Palm Beach Opera, the world premiere of La Fenice at the Savonlinna Opera Festival as well an appearance on their 100th Anniversary Gala (also produced on CD and DVD), a return to RAI Torino with Mendelssohn’s Lobgesang with Christopher Hogwood, Le Rossignol (Stravinsky) at Teatro Lirico di Cagliari, Pamina in Die Zauberflte at Opera Oviedo, concerts of Sophie (Der Rosenkavalier) at Theatre de Champs-Elysees with Maestro Kurt Masur, Adina in L’elisir d’Amore at De Nederlandse Opera in Amsterdam, Fire/Princess/Nightingale in L’enfant et les Sortileges with RAI Torino, her first Zerbinetta in Ariadne auf Naxos with the ABAO Bilbao, Gilda in Rigoletto at the Savonlinna Festival in Finland, Gilda in Rigoletto at the Teatro Massimo di Palermo in Sicily, Jenny in Der Aufsteig und Fall der Stadt Mahagonny in a new production by Laurent Pelly at the Thetre Capitole du Toulouse, France, Susanna in Le Nozze di Figaro at Opera National de Lyon, Adele in Die Fledermaus at De Nederlandse Opera in Amsterdam, Musetta in La Boheme at Dallas Opera, Haydn’s Il Ritorno di Tobia with Maestro Fabio Biondi at the Accademia di Santa Cecilia in Rome, Susanna in Le Nozze di Figaro at Florida Grand Opera, Woglinde/Waldvogel in Der Ring des Nibelungens at Teatro Petruzzelli in Bari, Adina in L’elisir d’Amore at Palm Beach Opera, Blonde in Die Entfhrung aus dem Serail with Jeffrey Tate at the Teatro San Carlo di Napoli and also at the Mozart Festival in La Coruna, Spain and as her debut with the Salzburg Festival, Pamina in Die Zauberflte at Genoa’s Teatro Carlo Felice, Adele in Die Fledermaus and Pamina in Die Zauberflte at Teatro Municipal de Santiago Chile, Liu in Turandot at the Teatro Regio di Parma, Gilda in Rigoletto at the Macau International Music Festival, Giulietta in I Capuleti e i Montecchi at the opera companies of Ravenna (released on DVD), Cremona, and Brescia, Donna Farinella in Mozart’s pasticcio L’Ape Musicale at the Theater an der Wien with Maestro Bertrand de Billy, Solveig in a world premiere staging of Grieg’s Peer Gynt at the Teatro Verdi di Trieste with Maestro Gerd Albrecht, Schubert’s Gli Amici del Salamanca at the Teatro Comunale di Bologna and a return to Teatro Regio di Parma as Musetta in La Boheme with Maestro Bruno Bartoletti. Upcoming engagements bring her debut at the Semperoper Dresden as Sophie in Der
Rosenkavalier under Maestro Christian Thielemann, Carmina Burana in Toronto, Canada with the Toronto Symphony Orchestra, Elisetta in Il Matrimonio Segreto with the Spoleto Festival and Maestro Ivor Bolton, the title role of Bellini’s Beatrice di Tenda at the Konzerthaus Berlin and Frau Fluth in Die Lustigen Weiber von Windsor with Opera de Lausanne Switzerland. While in the ensemble of the Komische Oper Berlin she sang numerous leading roles including Gilda in Rigoletto with Maestro Kiril Petrenko, Queen Schemacha in Rimsky-Kosakov’s Le Coq d’Or, Hermione in Handel’s Oreste with Maestro Thomas Hengelbrock (voted 2006 Production of the Year in Germany by Opernwelt and broadcast internationally on ARTE) as well as performances of Pamina, Blonde, and Sophie in Der Rosenkavalier among others.
A frequent concert soloist, Ms. Farcas has sung Mozart’s Solemn Vespers at the Teatro del Maggio Musicale in Florence under the baton of Maestro Riccardo Muti and Mendelssohn’s Midsummer Night’s Dream at the Wiener Musikverein conducted by Maestro Fabio Luisi. Her other recent performances of oratorio repertoire includes Handel’s Messiah with the Orchestra Sinfonica di Roma. Her CD recording of Mozart’s Mass in C minor has been released on Brilliant Classics. Other concert repertoire includes Beethoven’s Missa Solemnis, Bach’s Weinachts-Oratorium, St. Matthew Passion, St. John Passion, Magnificat, Haydn’s Die Schpfung and Mozart’s Requiem and Exsultate jubilate. A prize winner in several international vocal competitions, she graduated with honors from the Folkwang Hochschule Essen, and also studied
for a degree in piano performance from the Academy of Music in Bucharest.

DAVIDE LUCIANO Bariton
Davide Luciano was born into a musical family in Benevento and began playing the piano and several music instruments, such as percussions, bass and classical guitar. At the age of 19, he was encouraged by his father to pursue vocal studies under the guidance of M Gioacchino Zarrelli, one of the closest student of the great Rodolfo Celletti. At the same time, he attended some masterclasses with Marco Berti, Alfonso Antoniozzi, Stefano Giannini, Tiziana Fabbricini, Daniela Barcellona and Domenico Colaianni. At the age of 24 he entered his first competition, As.Li.Co, and obtained the Award of Best Debutant. He made his debut as Papageno (Die Zauberflte) in the project Opera domani. He was selected to perform Don Profondo in Il viaggio a Reims at the Rossini Opera Festival after having attended the Accademia Rossiniana in Pesaro directed by M Alberto Zedda. He won the third edition of Premio internazionale di canto lirico Santa Chiara in Napoli and was awarded the First Prize and the People’s Choice Award. He is taking part in the Circuito Lirico Lombardo’s production of L’Italiana in Algeri at the Theatres of Pavia, Brescia, Cremona, Como, Novara and Ravenna where he is singing both roles of Haly and Taddeo. His next engagement Haly in L’Italiana in Algeri at the Rossini Festival in Pesaro, Leporello in Don Giovanni at the Teatro Municipal in Sao Paulo, Pacuvio in La pietra del paragone at Chatelet and Leporello in Don Giovanni at the Norske Opera in Oslo. In the 2013/14 and 2014/15 Season Davide Luciano he will be member of the Ensemble of the Deutsche Oper in Berlin. He is currently studying with M Gioacchino Zarrelli.

Credits Christian Schneide
OPERA
Teatro Caio Melisso Spazio Carla Fendi
29 GIUGNO 20:30
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30 GIUGNO 16:30
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BIGLIETTI
stalls & stalls box € 90,00
I & II circle box€ 70,00
gallery € 30,00


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