London - Swan Lake - Royal Ballet - March / May 2027

London - Royal Ballet - 2027

Swan Lake  - Odette / Odile

Le Lac des Cygnes 

The countdown has officially begun! Swan Lake is returning to the Royal Ballet at Covent Garden, and excitement is already building across the ballet world. With performances scheduled from March 27 to May 31, 2027, we can finally start planning everything—agendas, trips, hotels, flights… even if ticket booking will only open on October 21, 2026. It already feels like a major event in the making, and it’s hard not to feel thrilled.

Even without the announced casts, the anticipation is electric. The Royal Ballet’s roster of principals is simply extraordinary, and any combination promises unforgettable performances. Among the names we may see are Yasmine Naghdi, whose return after maternity leave is especially exciting—her new interpretation of Odette is something I cannot wait to witness. There’s also the possibility of seeing Melissa Hamilton in what could be her official debut as a principal Odette at Covent Garden—an occasion that would be truly special to experience live.

And then there are so many other incredible artists I would love to see: Lauren Cuthbertson, Mayara Magri, Fumi Kaneko, Sarah Lamb, and my personal favourite Anna Rose O'Sullivan. Of course, the legendary Natalia Osipova brings her unmatched intensity, while the incomparable Marianela Nuñez—a true international superstar—may well open the run on gala night. Every possibility feels exciting, and every casting combination could be magical.

The male principals are equally impressive: Matthew Ball, William Bracewell, Reece Clarke, Cesar Corrales, Ryoichi Hirano, Steven McRae, Vadim Muntagirov, Calvin Richardson, Marcelino Sambé, Joseph Sissens —all of them capable of delivering deeply moving performances.

Musically, the production will be in outstanding hands, with the admired Koen Kessels conducting many performances, alongside Martin Georgiev, both leading either the Orchestra of the Royal Opera House or the Royal Ballet Sinfonia.

What makes this run even more thrilling is the unknown. With so many performances, anything could happen: debuts, surprises, and perhaps even the emergence of a brand-new Odette. That sense of possibility is part of the magic. It’s not just about seeing Swan Lake—it’s about discovering new interpretations, new emotions, and new stars.

One thing feels certain: tickets will sell out incredibly fast. This is Swan Lake, the most iconic ballet in the repertoire, performed by one of the greatest companies in the world. The excitement is real, the anticipation is growing, and the countdown has truly begun.

There are few challenges in the entire ballet repertoire as demanding, as exposing, and as profoundly transformative as the role of Odette and Odile in Swan Lake. It is not simply a question of technique—although the technique required is immense, relentless, and unforgiving. It is not only about stamina—though the physical endurance needed to sustain both roles in a single evening is extraordinary. It is something deeper, rarer: the ability to embody two opposing souls within the same body, often within minutes, and to make both utterly believable.

Odette is purity. She is lyricism, fragility, breath, poetry made visible. Every movement must seem to float, to dissolve into the music, to exist beyond effort. Her arms speak, her eyes speak, her silence speaks. She is tragedy without excess, emotion without exaggeration.

Odile, by contrast, is brilliance. Precision. Attack. Seduction. Control. She dazzles, she commands, she captivates with an almost dangerous confidence. Her technique must be razor-sharp, her turns—those iconic fouettés—must electrify the audience, her presence must dominate the stage from the very first glance in the Act III waltz.

To dance both in one evening is to travel from moonlight to fire, from vulnerability to power, from softness to steel. It demands not only a complete ballerina—but a complete artist.

And at the Royal Ballet, this role lives in the hands of a truly extraordinary generation.

Lauren Cuthbertson brings a deeply poetic, almost spiritual quality to Odette—her interpretation feels like a whispered secret, full of nuance and emotional depth. Her Odile, by contrast, is refined and intelligent, seducing not through force but through subtle, irresistible control.

Melissa Hamilton offers a beautifully sculpted lyricism—her Odette promises sensitivity and introspection, while her Odile carries a sense of unfolding strength, a quiet but compelling authority that can surprise and mesmerize.

Francesca Hayward radiates sincerity and natural grace—her Odette feels youthful, tender, almost luminous in its innocence, while her Odile sparkles with charm, quickness, and an engaging theatrical presence.

Fumi Kaneko is a model of precision and musical clarity—her Odette flows seamlessly with the score, each phrase perfectly shaped, while her Odile dazzles with crystalline technique and impeccable control.

Sarah Lamb embodies classical elegance at its highest level—her Odette is serene, noble, and exquisitely detailed, while her Odile is polished, authoritative, and technically flawless.

When Sarah Lamb steps onto the stage of the Royal Opera House as Odette, the audience sees more than just a world-class ballerina. They are witnessing a living link to the Golden Age of Russian Ballet—a lineage that stretches back nearly 200 years to the Imperial theaters of St. Petersburg.

While Sarah is a definitive star of The Royal Ballet, her artistic DNA is purely Vaganova. She was molded by the legendary Tatiana Legat, a woman who was "ballet royalty." Tatiana was the granddaughter of Nikolai Legat—the very man who taught Anna Pavlova and partnered her on the world’s greatest stages.

To watch Sarah Lamb is to see the secrets of this lineage in motion:

The Purest Line: Following the strict discipline of the Legat family, Sarah’s technique is unpolluted. Her movements adhere to the "pure" Vaganova method, where every port de bras and every épaulement serves a musical and narrative purpose, never sacrificing grace for mere athleticism.

A "Mariinsky" Soul in London: Though she has made London her home, Sarah’s dancing "drinks" from the Mariinsky tradition. Her ability to use her back and shoulders with such fluidity is a direct inheritance from the Russian masters who codified the art form.

The Transfiguration: Much like Pavlova, Sarah possesses that rare, ethereal quality—a fragile beauty underpinned by a core of steel. She doesn't just mimic a swan; she undergoes the same poetic metamorphosis that made Pavlova an immortal icon.

Sarah Lamb is not just a modern performer; she is a guardian of tradition. She is the "21st Century Pavlova," carrying the torch of a vanishing era into the future. When she dances Swan Lake, she isn't just performing a role—she is breathing life into a history that belongs to the ages.

Mayara Magri brings emotional intensity and radiance—her Odette is deeply felt, full of vulnerability and warmth, while her Odile shines with vibrant energy and fearless brilliance.

Yasmine Naghdi combines lyrical refinement with quiet strength—her Odette is delicate yet grounded, rich in musical sensitivity, while her Odile is confident, expansive, and commanding.

Marianela Nuñez stands as one of the great ballerinas of our time—her Odette is generous, radiant, and emotionally open, while her Odile is majestic, thrilling, and utterly sovereign, commanding every corner of the stage.

Natalia Osipova is a force of nature—her Odette burns with raw, almost unbearable emotion, fragile and explosive at once, while her Odile is electrifying, unpredictable, and dangerously captivating.

Anna Rose O'Sullivan enchants with her musicality and sincerity—her Odette is tender and heartfelt, while her Odile reveals a playful yet precise brilliance that draws the audience in.

Akane Takada offers a vision of ethereal purity—her Odette is light as air, exquisitely controlled and poetic, while her Odile is sharp, luminous, and technically immaculate.

This role—this extraordinary  identity—has fascinated audiences across the world for generations. It is a test, a rite of passage, a summit that only the greatest ballerinas can reach. And always, in the background, there remains the echo of Margot Fonteyn, whose Odette became one of the most iconic in history, not only in England but worldwide—a standard of artistry that continues to inspire.

Now, it is the turn of a new generation.

These ballerinas of the Royal Ballet carry the legacy forward—not by imitating the past, but by redefining it. Each one brings her individuality, her truth, her artistry to the role. Each one transforms Odette and Odile into something personal, something alive.

Because in the end, that is the true magic of Swan Lake:

not that it remains the same—

but that it is reborn, again and again,

through the artists who dare to become it.

The anticipation surrounding Swan Lake at the Royal Ballet in Covent Garden has already reached an almost unbearable level of excitement—and yet, the most thrilling part is that so much remains unknown. The dates are set, the stage is waiting, the orchestra will soon tune, but the casts… the casts remain a mystery. And that mystery is exactly what makes this moment so magical.

Because when you look at the extraordinary roster of principals, the imagination simply takes flight.

Nothing is official yet—this must be said, again and again. No casts have been announced. No pairings confirmed. No debuts guaranteed. And yet… how can we not dream?

What if one evening we see Yasmine Naghdi returning to the stage after her maternity leave, bringing a renewed, deeper, perhaps even more fragile and poetic Odette? Who might stand beside her? Could it be the noble elegance of Vadim Muntagirov, with his pure classical line? Or perhaps the dramatic intensity of Matthew Ball, creating a darker, more psychological Prince Siegfried? Or even the refined artistry of William Bracewell, offering something quietly profound and deeply musical?

And then—imagine another evening entirely. Natalia Osipova takes the stage. Instantly, the atmosphere changes. Her Odette is not just danced—it is lived, burned through, almost dangerous in its emotional intensity. Who could match that energy? Reece Clarke with his commanding presence? Cesar Corrales bringing fire and virtuosity? Or perhaps Steven McRae, electrifying the stage with speed and brilliance?

And what about Marianela Nuñez, the radiant superstar who seems born to open great ballet runs? One can easily imagine her leading a gala night, her Odette luminous, her Odile dazzling. Alongside her, could we see Ryoichi Hirano in a partnership of elegance and refinement? Or Marcelino Sambé, bringing charm, musicality, and emotional warmth? Or even Joseph Sissens, creating a fresh and compelling dynamic?

And then there are the dream casts that feel like poetry waiting to happen.

Imagine Lauren Cuthbertson—so lyrical, so deeply expressive—paired with William Bracewell. A performance of quiet beauty, full of nuance and storytelling. Or Fumi Kaneko, with her exquisite precision and musical sensitivity, perhaps dancing with Vadim Muntagirov in a vision of classical perfection.

What if Mayara Magri brings her emotional richness to Odette, paired with Matthew Ball for something intense and deeply human? Or Sarah Lamb, whose refinement and control could create a hauntingly beautiful interpretation—perhaps alongside Reece Clarke in a grand, sweeping partnership?

And then, of course, there is Anna Rose O'Sullivan—a personal favourite for so many. Her artistry, her musicality, her emotional sincerity… imagining her Odette already feels special. Who would be her Prince? Cesar Corrales for brilliance? Marcelino Sambé for warmth? Joseph Sissens for freshness and discovery?

And then—another layer of excitement—what about Melissa Hamilton? The possibility of her official debut as Odette at Covent Garden as a principal feels like one of those moments that audiences remember forever. A debut always carries electricity. A sense of risk. Of revelation. Who might partner her on such an occasion? A trusted partner like Ryoichi Hirano? Or a contrasting energy like Steven McRae?

And beyond all of this… there is always the unexpected.

In a run with so many performances, it is entirely possible—perhaps even likely—that new interpretations will emerge. A dancer who has never performed Odette before might step into the role. A debut could appear quietly, unexpectedly, and become one of the most talked-about performances of the entire series. That is the magic of a long run: it creates space for discovery.

Every evening could feel completely different.

One night: pure classical refinement.

Another: raw emotional intensity.

Another: youthful freshness and surprise.

Another: legendary star power.

And in the pit, the musical dimension adds yet another layer of richness. Under the baton of Koen Kessels, one might expect a deep, flowing musical narrative, full of colour and breath. With Martin Georgiev, perhaps a different energy, a different pacing, a new perspective on Tchaikovsky’s score. Even the same cast could feel transformed depending on the conductor.

This is why the excitement feels so immense. It’s not just one Swan Lake. It’s dozens of possible Swan Lakes, each unique, each unrepeatable.

And yes—tickets are not yet on sale. Yes—the casting remains unknown. Yes—we are still waiting.

But the dreaming has already begun.

Imagining combinations. Planning trips. Hoping for specific dates. Wondering who will dance when. Accepting that, in the end, any cast will be extraordinary—because every single one of these artists is exceptional.

This is the beauty of it: there is no wrong choice. Only different kinds of magic.

And when booking finally opens, the rush will be inevitable. Because everyone knows: this will be one of those ballet events that defines a season. Perhaps even more than that.

The stage is set.

The names are there.

The possibilities are endless.

And somewhere, in one of those performances, something unforgettable is waiting to happen.

Quel vertige d’émotion de penser à Swan Lake… Pour moi, ce n’est pas seulement un ballet, c’est une histoire personnelle, un fil invisible qui traverse toute une vie de spectateur.

Je me souviens encore de la toute première fois. C’était à Bavarian State Opera, à Munich. L’année 1997. Mon tout premier Lac des cygnes. Je ne me rappelle plus qui était Odette ce soir-là—c’est étrange comme la mémoire fonctionne—mais je me rappelle parfaitement l’émotion. Cette sensation presque irréelle de découvrir un monde nouveau, un monde de musique, de grâce, de tragédie et de beauté absolue. C’est là que tout a commencé.

Quelques années plus tard, en 2001, un moment encore plus marquant. À Barcelone, avec le San Francisco Ballet. Et cette fois, je n’oublierai jamais. Lucia Lacarra. Son Odette… d’une finesse, d’une pureté, d’une délicatesse inouïe. Peut-être la plus exquise que j’aie jamais vue. Et ce n’était pas une seule fois, mais deux. Depuis une loge au premier étage, juste à côté de la scène—une proximité presque irréelle. Chaque détail, chaque regard, chaque mouvement… c’était un rêve. Un moment suspendu dans le temps.

Et comme un écho à ce souvenir, des années plus tard, en 2024, dans ce même théâtre, dans cette même loge… une autre soirée inoubliable. Fumi Kaneko et Vadim Muntagirov, invités avec le Ballet de Rome. Une soirée triomphale. Une alchimie parfaite. Une Odette lumineuse, un prince d’une noblesse absolue. Ces moments restent gravés, comme des repères dans une vie de passion.

Et aujourd’hui, imaginer leur possible présence à Londres, dans cette nouvelle série au Royal Opera House… c’est déjà une émotion immense. Les voir à nouveau ensemble ? Ou bien dans des distributions différentes ? Peu importe, au fond. L’essentiel, c’est de les voir. De les ressentir. De vivre encore une fois cette magie.

Mais Swan Lake, c’est aussi toutes ces Odette que l’on n’a pas vues en direct, mais que l’on a découvertes grâce aux images, aux archives, aux vidéos qui défient le temps. Maya Plisetskaya, Alicia Alonso, Margot Fonteyn… des figures mythiques. Elles ne sont plus là, mais leur art demeure. Intact. Immortel. Elles continuent d’inspirer, d’émouvoir, de définir ce qu’est Odette.

Et puis, il y a les étoiles d’aujourd’hui. Celles qui font vivre ce rôle sur les scènes du monde entier—à Paris, à Londres, à Moscou, à Saint-Pétersbourg, à New York. Récemment encore, le monde du ballet a été bouleversé par les adieux de Gillian Murphy à l’American Ballet Theatre. Une soirée historique. Une des plus grandes Odette de l’histoire de la compagnie. Un moment chargé d’émotion, qui rappelle à quel point ce rôle marque une carrière… et une vie.

Et maintenant, nous regardons vers l’avenir. Vers cette nouvelle série à Londres. Vers les Odette du Royal Ballet.

Comment ne pas rêver devant une telle constellation de talents ?

Yasmine Naghdi, dont le retour est attendu avec tant d’impatience—quelle sera sa nouvelle Odette, transformée par le temps et l’expérience ?

Akane Takada, Odette divine, Odile unique.

Marianela Nuñez, la grande étoile internationale, rayonnante, magistrale.

Natalia Osipova, volcanique, imprévisible, bouleversante.

Lauren Cuthbertson, d’une sensibilité infinie.

Fumi Kaneko, d’une précision et d’une musicalité exquises.

Sarah Lamb, incarnation de l’élégance classique.

Mayara Magri, intense et lumineuse.  

Melissa Hamilton, peut-être à l’aube d’un moment clé avec un grand début.

Anna Rose O'Sullivan, si musicale, si sincère, si touchante.

Et autour d’elles, leurs partenaires—princes, complices, miroirs de leurs émotions : Matthew Ball, William Bracewell, Reece Clarke, Cesar Corrales, Steven McRae, Marcelino Sambé, Joseph Sissens, Ryoichi Hirano, Calvin Richardson

Et pourtant—rien n’est encore décidé.

C’est cela qui rend tout encore plus fascinant. Chaque soir sera différent. Chaque Odette sera unique. Chaque rencontre entre danseurs créera une nouvelle émotion, une nouvelle histoire. On peut imaginer mille combinaisons, mille possibilités… mais la réalité nous surprendra toujours.

Et peut-être—oui, peut-être—verrons-nous aussi naître une nouvelle Odette. Une danseuse qui, pour la première fois, abordera ce rôle mythique et marquera les esprits. Car avec autant de représentations, tout devient possible.

C’est cela, la magie de Swan Lake. Ce n’est jamais le même ballet. C’est une œuvre vivante, en perpétuelle transformation, portée par des artistes qui y laissent une part d’eux-mêmes.

Aujourd’hui, l’excitation est immense. Voyager à Londres n’est plus seulement une idée—c’est déjà un projet, une évidence, presque une nécessité pour tous les passionnés, venus non seulement du Royaume-Uni, mais du monde entier.

Nous ne savons pas encore qui dansera quoi.

Nous ne savons pas quels soirs seront les plus attendus.

Nous ne savons pas quelles émotions nous attendent.

Mais une chose est certaine :

Ces soirées seront inoubliables.

L’attesa per Swan Lake a Londra è qualcosa che va oltre l’entusiasmo: è un sogno che prende forma, giorno dopo giorno, alimentato dall’immaginazione. Perché sì, pensiamo sempre alle Odette—figure eteree, tragiche, sublimi—ma il Principe Siegfried… quanto è essenziale! Senza di lui, senza quella presenza capace di sostenere, riflettere e amplificare la magia di Odette, il balletto non sarebbe lo stesso. È nell’incontro tra loro che nasce l’incanto.

E allora la mente comincia a volare.

Immagino Lauren Cuthbertson con William Bracewell… una coppia di rara poesia, tutta fatta di sfumature, di silenzi, di respiri condivisi. Oppure Lauren con Matthew Ball, per un’intensità più drammatica, più teatrale. E se fosse con Vadim Muntagirov? Allora sì, pura linea classica, una perfezione quasi irreale.

E poi penso a Marianela Nuñez… radiosa, assoluta. Con chi? Con Vadim, certo, una partnership già leggendaria. Ma anche con Marcelino Sambé, per un’energia diversa, più luminosa, più viva. O ancora con Reece Clarke, per un Siegfried nobile e imponente. E se fosse con Cesar Corrales? Virtuosismo, fuoco, slancio!

E la mente continua…

Yasmine Naghdi, al suo ritorno—quanto sarà emozionante! Con Matthew Ball potrebbe creare una storia intensa, quasi cinematografica. Con William Bracewell, invece, qualcosa di più intimo, raccolto. E con Ryoichi Hirano? Eleganza pura, classicismo raffinato.

E poi Natalia Osipova… ogni sua apparizione è un evento. Con Steven McRae potrebbe incendiare il palcoscenico. Con Reece Clarke, creare contrasti affascinanti. O con Matthew Ball, spingersi verso territori emotivi estremi.

E non posso non immaginare Fumi Kaneko con Vadim Muntagirov… una coppia che sembra nata per questo balletto. Ma anche Fumi con Marcelino Sambé, per una lettura più luminosa, o con Joseph Sissens, per qualcosa di fresco, nuovo, sorprendente.

E ancora…

Mayara Magri con Matthew Ball, per una combinazione intensa e passionale. Oppure con Cesar Corrales, piena di energia e slancio.

Sarah Lamb con Ryoichi Hirano, per una perfezione classica quasi senza tempo.

Melissa Hamilton… e se fosse il suo grande momento? Con Steven McRae? O con William Bracewell? O magari con Marcelino Sambé?

E poi lei… Anna Rose O'Sullivan. Così musicale, così sincera. La immagino con Joseph Sissens, per una coppia giovane, vibrante. O con Cesar Corrales, per un contrasto affascinante. O con Matthew Ball, per una narrazione intensa.

E mentre penso a tutto questo… mi rendo conto che potrei continuare all’infinito.

Perché ogni combinazione è possibile.

Ogni coppia racconta una storia diversa.

Ogni serata sarà unica.

E non dimentichiamo altri straordinari artisti come Calvin Richardson e Akane Takada, che potrebbero inserirsi in queste costellazioni di talento, creando nuove alchimie, nuove emozioni.

È questo il vero fascino di una lunga serie di Swan Lake: la varietà infinita. Non esiste una sola versione, ma tante quante sono le coppie che salgono sul palcoscenico.

E allora sogno.

Sogno combinazioni, debutti, ritorni.

Sogno serate diverse, emozioni nuove.

Sogno Odette e Siegfried che si incontrano, si perdono, si ritrovano…

La mia immaginazione vola, come un cigno.

E presto—molto presto—quel sogno diventerà realtà.

Il existe peu de défis dans tout le répertoire du ballet aussi exigeants, aussi révélateurs et aussi profondément transformateurs que le double rôle d’Odette et d’Odile dans Le Lac des cygnes. Ce n’est pas seulement une question de technique—bien que la technique exigée soit immense, implacable, presque surhumaine. Ce n’est pas seulement une question d’endurance—même si la résistance physique nécessaire pour porter ces deux rôles au cours d’une même soirée est extraordinaire. C’est quelque chose de plus rare encore : la capacité d’habiter deux âmes opposées dans un seul corps, parfois en l’espace de quelques minutes, et de rendre chacune totalement crédible.

Odette est pureté. Elle est lyrisme, fragilité, souffle, poésie incarnée. Chaque mouvement doit sembler flotter, se dissoudre dans la musique, exister au-delà de l’effort. Ses bras parlent, son regard parle, son silence parle. Elle est tragédie sans excès, émotion sans démonstration.

Odile, au contraire, est éclat. Précision. Attaque. Séduction. Contrôle. Elle fascine, elle domine, elle captive avec une assurance presque dangereuse. Sa technique doit être acérée, ses tours—ces fouettés tant attendus—doivent électriser la salle, sa présence doit s’imposer dès le premier regard du grand acte III.

Danser les deux dans une même représentation, c’est traverser un monde entier : passer de la lumière lunaire au feu, de la vulnérabilité à la puissance, de la douceur à l’acier. Cela exige non seulement une grande ballerine—mais une artiste totale.

Et au Royal Ballet, ce rôle vit aujourd’hui à travers une génération absolument remarquable.

Lauren Cuthbertson apporte à Odette une poésie intime, presque spirituelle ; son interprétation semble murmurée, pleine de nuances et de profondeur. Son Odile, elle, séduit par une intelligence raffinée, une maîtrise subtile, presque hypnotique.

Melissa Hamilton offre un lyrisme sculpté avec délicatesse ; son Odette promet sensibilité et introspection, tandis que son Odile révèle une force en devenir, une autorité discrète mais saisissante.

Francesca Hayward rayonne de sincérité et de grâce naturelle ; son Odette est lumineuse, tendre, presque innocente, tandis que son Odile brille par son charme, sa vivacité et son sens théâtral.

Fumi Kaneko incarne la précision et la clarté musicale ; son Odette coule avec la partition, chaque phrase étant ciselée avec perfection, tandis que son Odile éblouit par une technique cristalline.

Sarah Lamb est l’élégance classique incarnée ; son Odette est noble, sereine, d’une beauté épurée, et son Odile impose un style impeccable, maîtrisé jusque dans les moindres détails.

Mayara Magri apporte intensité et lumière ; son Odette est vibrante d’émotion, sincère et touchante, tandis que son Odile rayonne d’énergie et d’audace.

Yasmine Naghdi allie finesse lyrique et force intérieure ; son Odette est délicate, musicale, profondément habitée, tandis que son Odile s’impose avec assurance et ampleur.

Marianela Nuñez est une grande étoile de notre temps ; son Odette est généreuse, lumineuse, profondément humaine, tandis que son Odile est magistrale, souveraine, électrisante.

Natalia Osipova est une force de la nature ; son Odette brûle d’une intensité bouleversante, fragile et explosive à la fois, tandis que son Odile est fulgurante, imprévisible, fascinante.

Anna Rose O'Sullivan charme par sa musicalité et sa sincérité ; son Odette est délicate et émouvante, tandis que son Odile révèle une brillance vive et captivante.

Akane Takada offre une vision d’une pureté éthérée ; son Odette est aérienne, parfaitement maîtrisée, d’une poésie rare, tandis que son Odile est lumineuse, incisive, techniquement irréprochable.

Ce double rôle—cette dualité fascinante—a captivé les publics du monde entier depuis des générations. C’est une épreuve, un sommet, un passage obligé pour les plus grandes. Et toujours, en filigrane, demeure l’ombre lumineuse de Margot Fonteyn, dont l’Odette reste l’une des plus mythiques de l’histoire, non seulement en Angleterre mais dans le monde entier.

Aujourd’hui, une nouvelle génération prend le relais.

Ces ballerines du Royal Ballet ne reproduisent pas le passé : elles le réinventent. Chacune apporte sa vérité, sa sensibilité, son art. Chacune fait renaître Odette et Odile sous une forme nouvelle, vivante, vibrante.

Car au fond, c’est cela, la véritable magie du Lac des cygnes :
non pas rester immuable,
mais renaître, encore et encore,
à travers celles qui osent l’incarner.

En todo el repertorio del ballet, pocos desafíos son tan exigentes, reveladores y profundamente transformadores como el doble papel de Odette y Odile en El lago de los cisnes. No se trata solo de técnica, aunque la técnica requerida es inmensa, implacable, casi sobrehumana. Tampoco se trata solo de resistencia, aunque la fortaleza física necesaria para interpretar ambos papeles en una sola noche es extraordinaria. Se trata de algo aún más excepcional: la capacidad de habitar dos almas opuestas en un solo cuerpo, a veces en cuestión de minutos, y de hacer que cada una resulte totalmente creíble.

Odette es pureza. Es lirismo, fragilidad, aliento, poesía encarnada. Cada movimiento debe parecer flotar, disolverse en la música, existir más allá del esfuerzo. Sus brazos hablan, su mirada habla, su silencio habla. Es tragedia sin excesos, emoción sin ostentación.

Odile, en cambio, es brillantez. Precisión. Ataque. Seducción. Control. Fascina, domina, cautiva con una confianza casi peligrosa. Su técnica debe ser impecable, sus giros —esos fouettés tan esperados— deben electrizar al público, su presencia debe captar la atención desde el primer vistazo del grandioso Acto III.

Bailar ambos papeles en la misma función es recorrer un mundo entero: pasar de la luz de la luna al fuego, de la vulnerabilidad al poder, de la dulzura al acero. Esto exige no solo una gran bailarina, sino una artista completa.

Y en el Royal Ballet, este papel perdura hoy a través de una generación absolutamente extraordinaria. Lauren Cuthbertson aporta una poesía íntima, casi espiritual, a Odette; su interpretación parece susurrada, llena de matices y profundidad. Su Odile, por otro lado, seduce con una inteligencia refinada, una maestría sutil, casi hipnótica. Melissa Hamilton ofrece un lirismo delicadamente esculpido; su Odette promete sensibilidad e introspección, mientras que su Odile revela una fuerza en ciernes, una autoridad discreta pero impactante. Francesca Hayward irradia sinceridad y gracia natural; Su Odette es luminosa, tierna, casi inocente, mientras que su Odile brilla con encanto, vivacidad y estilo teatral.

Fumi Kaneko encarna la precisión y la claridad musical; su Odette fluye con la partitura, cada frase cincelada a la perfección, mientras que su Odile deslumbra con una técnica cristalina.

Sarah Lamb es la elegancia clásica personificada; su Odette es noble, serena y exquisitamente bella, y su Odile domina un estilo impecable, perfeccionado hasta el más mínimo detalle.

Mayara Magri aporta intensidad y luz; su Odette rebosa emoción, sinceridad y emotividad, mientras que su Odile irradia energía y audacia.

Yasmine Naghdi combina la delicadeza lírica con la fuerza interior; su Odette es delicada, musical y profundamente expresiva, mientras que su Odile capta la atención con seguridad y amplitud. Marianela Nuñez es una gran estrella de nuestro tiempo. Su Odette es generosa, luminosa y profundamente humana, mientras que su Odile es magistral, imponente y electrizante.

Natalia Osipova es una fuerza de la naturaleza; su Odette arde con una intensidad impresionante, frágil pero explosiva, mientras que su Odile es deslumbrante, impredecible y cautivadora.

Anna Rose O'Sullivan encanta con su musicalidad y sinceridad; su Odette es delicada y conmovedora, mientras que su Odile revela un brillo vívido y cautivador.

Akane Takada ofrece una visión de pureza etérea; su Odette es etérea, perfectamente controlada y posee una poesía singular, mientras que su Odile es luminosa, incisiva y técnicamente impecable.

Este doble papel —esta fascinante dualidad— ha cautivado al público de todo el mundo durante generaciones. Es una prueba, una cumbre, un paso necesario para los más grandes cantantes. Y siempre, sutilmente presente, permanece la luminosa sombra de Margot Fonteyn, cuya Odette sigue siendo una de las más legendarias de la historia, no solo en Inglaterra sino en todo el mundo.

Hoy, una nueva generación toma el relevo.

Estas bailarinas del Royal Ballet no reproducen el pasado: lo reinventan. Cada una aporta su propia verdad, su propia sensibilidad, su propio arte. Cada una devuelve la vida a Odette y Odile en una forma nueva, vibrante y llena de vida.

Porque, en definitiva, esta es la verdadera magia de El lago de los cisnes:

no permanecer inmutable,

sino renacer, una y otra vez,

a través de quienes se atreven a encarnarlo.

Saint Petersburg - Giuseppe Verdi - La forza del destino - Mariinsky Theatre - 30th April 2026

On Thursday, April 30th, 2026, Mariinsky Theatre will host an event of truly exceptional artistic and historical importance: a rare performance of La forza del destino in its original 1862 Saint Petersburg version. For opera lovers, scholars, and devotees of Giuseppe Verdi, this is not merely a performance—it is a return to the very genesis of one of the most ambitious creations in the operatic canon.

The origins of La forza del destino are inextricably woven into the imperial grandeur of Saint Petersburg. It was here, on October 29th, 1862, that the opera received its world premiere before the Russian musical elite and in the presence of Verdi himself, marking a transcendent milestone in European cultural history. The triumph was absolute; a work of monumental scale that revealed a composer at the zenith of his creative powers. Through vast choral frescoes and haunting psychological depth, Verdi crafted a sweeping musical architecture that masterfully embraced the profound complexity of human fate.

Yet behind this monumental achievement stands a figure whose importance cannot be overstated: Giuseppina Strepponi. More than Verdi’s companion and later his wife, she was the decisive force behind the very existence of this opera. At a time when Verdi had grown weary of the operatic stage and was reluctant to embark on new projects, it was Strepponi who encouraged—indeed insisted—that he accept the commission from Saint Petersburg. Without her conviction, her artistic intuition, and her unwavering belief in his genius, La forza del destino might never have been written. In a very real sense, the opera is as much a testament to her influence as it is to Verdi’s inspiration.

Bolshoi Kammeny Saint Petersburg

The version to be performed on April 30th is the original Saint Petersburg score—the first conception, untouched by the later revisions that would reshape the opera for subsequent audiences. This early version possesses a raw dramatic force and a sonic grandeur that many consider unparalleled. Its structure, its pacing, and above all its original ending convey a boldness and immediacy that reflect Verdi’s initial vision in its purest form.

Today, almost everywhere in the world, opera houses present only the revised version, the one Verdi later adapted for Italy, including performances at La Scala. Even there, hearing the original version has been an extraordinary rarity. Remarkably, no other major operatic center—not even Moscow—offers this first version in its full theatrical life. Only in Saint Petersburg can audiences experience La forza del destino as it was first imagined, with the depth, scale, and authenticity that belong to its origins.

This exclusivity gives the upcoming performance a singular aura. It is not simply another staging; it is the only place in the world where this original masterpiece can be heard live, in the city for which it was created. The use of original scenic concepts further enhances this sense of historical continuity, allowing the audience to step into the very atmosphere of the opera’s birth.

Giuseppe Verdi in Saint Petersburg, 1862 

This iconic photograph captures the Italian maestro during his stay in Russia for the world premiere of La forza del destino at the Bolshoi Kamenny Theatre. The historic premiere took place on October 29, 1862 (according to the old Russian calendar). The image shows Verdi prepared for the harsh Russian winter, a trip he initially refused and only accepted thanks to the persistent encouragement of his wife, Giuseppina Strepponi.

Эта культовая фотография запечатлела итальянского маэстро во время его пребывания в России на мировой премьере оперы «Сила судьбы» в Большом Каменном театре. Историческая премьера состоялась 29 октября 1862 года (по старому русскому календарю). На снимке Верди готовится к суровой русской зиме, от поездки, которую он сначала отказался, но согласился только благодаря настойчивым уговорам своей жены, Джузеппины Стреппони.

Esta icónica fotografía capturada al maestro italiano durante su estancia en Rusia para el estreno mundial de La fuerza del destino en el Teatro Bolshói Kamenny. El histórico estreno tuvo lugar el 29 de octubre de 1862 (según el antiguo calendario ruso). La imagen muestra a Verdi preparado para el crudo invierno ruso, un viaje que inicialmente rechazó y que solo aceptó gracias al persistente de su esposa, Giuseppina Strepponi.

This iconic photograph captures Giuseppe Verdi during his historic visit to St. Petersburg in 1862. Far from being just a record of a trip, this image reflects the meeting of two great musical worlds. At the time, the Russian capital was one of the most dazzling and sophisticated cities in Europe—a "Venice of the North" that welcomed the Italian Maestro with open arms and unparalleled luxury.

Verdi traveled there for the world premiere of La forza del destino at the Bolshoi Kamenny Theatre. While he was initially hesitant to leave his quiet life in Italy, his wife, Giuseppina Strepponi, encouraged him to embrace this opportunity. She knew that the Russian soul, with its deep passion for opera, would be the perfect stage for his new masterpiece.

In this portrait, Verdi dons a magnificent fur coat, a symbol of the warm and prestigious reception he received from the Russian high society and Tsar Alexander II himself. Rather than a "battle against the cold," the image shows a composer perfectly integrated into the elegant winter atmosphere of the city.

The trip was a resounding success. Between rehearsals, the Verdis enjoyed the city's legendary hospitality, fine dining, and vibrant cultural life. This photograph remains a beautiful souvenir of a time when Italian melody and Russian grandeur came together to create musical history.

Verdi conceived this work with large choral forces in mind, and nowhere does this vision resonate more profoundly than in the Russian tradition. The power, richness, and depth of Russian voices—especially in the chorus—align perfectly with the monumental writing of the score. Though the cast has not yet been announced, one can be certain that it will feature voices capable of fulfilling Verdi’s expectations—voices of breadth, intensity, and dramatic truth, precisely the kind he had in mind when composing for Saint Petersburg.

La forza del destino stands as one of Verdi’s most expansive achievements: a vast fresco of intertwined destinies, passions, conflicts, and spiritual struggles. It is an opera where intimacy and grandeur coexist, where the personal and the universal collide with overwhelming force. In its original form, this vision emerges with a clarity and vitality that make the experience uniquely powerful.

To attend this performance on April 30th, 2026, is to witness not only a great opera, but a moment of living history. It is an encounter with Verdi’s genius at its most direct and unfiltered, brought to life in the very place where it first astonished the world.

And one cannot help but imagine what further richness could arise if Russia were to embrace both versions of the work. How extraordinary it would be if the Bolshoi Theatre were to stage the later revised version, allowing audiences to experience, within the same cultural sphere, the full evolution of Verdi’s thought. Such a dialogue between the two versions would deepen our understanding of the composer’s creative journey.

For now, however, the truth remains simple and compelling: for those who wish to hear the original La forza del destino—with its full dramatic power, its monumental choral writing, and its unaltered vision—there is only one place in the world to be. And that place is Saint Petersburg.

CAST

On 30 April 2026, the stage will be set for an evening of rare intensity and beauty, as La forza del destino returns in its original language—an occasion that promises to be nothing short of extraordinary. First premiered on 29 October 1862, this masterpiece by Giuseppe Verdi has long stood as one of the composer’s most profound explorations of fate, love, and redemption. To witness it in such a distinguished setting, with a cast of exceptional artists, makes this performance a truly singular event.

At the heart of the drama stands Leonora, portrayed by the remarkable soprano Tatiana Serjan. Renowned for her expressive depth and richly colored voice, Serjan brings to her roles a rare fusion of technical mastery and emotional nuance. Her celebrated interpretations of Verdi heroines—especially Lady Macbeth—have earned her major accolades and established her as one of the leading dramatic sopranos of her generation. Her Leonora promises to be both fragile and resolute, a woman torn between earthly passion and spiritual transcendence.

Opposite her, in the role of Don Alvaro, is the distinguished tenor Akhmed Agadi. Possessing a voice of striking beauty and flexibility, Agadi has built an international reputation through a repertoire that spans the great Italian and Russian operas. His performances are marked by an intense dramatic presence and a refined musical sensibility, making him an ideal interpreter of Alvaro’s tormented nobility and lyrical anguish.

The role of Don Carlo will be brought to life by the accomplished baritone Alexey Markov, a singer whose career has taken him to the world’s most prestigious opera houses. Known for his commanding stage presence and vocal authority, Markov excels in Verdian roles that demand both power and psychological depth. His Don Carlo is sure to embody the character’s relentless pursuit of vengeance with gripping intensity.

In the vibrant and charismatic role of Preziosilla, mezzo-soprano Ekaterina Semenchuk will shine. Celebrated for her dramatic versatility and richly expressive voice, Semenchuk has earned acclaim on the world’s leading stages. Her interpretations of Verdi’s mezzo roles are particularly admired, combining vocal brilliance with a compelling theatrical instinct. Preziosilla, with her energy and symbolic presence, will undoubtedly come alive under her artistry.

The spiritual anchor of the opera, Padre Guardiano, will be performed by bass Yuri Vorobiev. With a repertoire that spans both Russian and Western operatic traditions, Vorobiev brings a profound gravitas to his roles. His deep, resonant voice and thoughtful characterizations make him ideally suited to convey the compassion and moral strength of this pivotal figure.

Completing the principal cast, baritone Andrei Spekhov will appear as Fra Melitone. A seasoned performer with decades of experience, Spekhov is known for his versatility and strong stage characterizations. In this role, he will provide both comic relief and subtle insight, enriching the opera’s complex emotional landscape.

The musical direction of this production is led by American conductor Christian Knapp, a prominent figure at the Mariinsky Theatre in St. Petersburg. Knapp’s artistic profile is uniquely defined by his dual background in Western academic thought and the rigorous Russian conducting tradition. He holds a degree in Philosophy from Tufts University and studied Piano at the New England Conservatory, an intellectual foundation that brings a profound analytical depth to his interpretations.

His career took a decisive turn when he moved to Russia to study at the St. Petersburg Conservatory under the legendary Ilya Musin, the mentor of world-renowned maestros like Valery Gergiev. This training allowed Knapp to master the expressive gestural language and orchestral control characteristic of the St. Petersburg school. Today, he is celebrated for his remarkable versatility, blending American intellectualism with the soulful intensity of the Russian stage.

Demonstrating his extraordinary range and stamina, his upcoming performances for this season include a series of masterpiece productions:

La forza del destino (Verdi)

Ernani (Verdi)

La Bohème (Puccini)

Il trovatore (Verdi)

Lakmé (Delibes)

Together, this ensemble of distinguished artists—each with a significant international career and deep connection to the operatic tradition—will bring Verdi’s vision vividly to life. This theatre, so closely linked to the Russian appreciation of Verdi’s genius, offers the perfect setting for such a performance: a place where history, artistry, and passion converge.

This is not merely an evening at the opera, but a rare encounter with greatness—an unforgettable journey into one of Verdi’s most powerful works, entrusted to voices of exceptional caliber.

Le 30 avril 2026, le Théâtre Mariinsky fera revivre un moment de légende : la version originelle de La forza del destino, créée à Saint-Pétersbourg le 29 octobre 1862. Cet événement exceptionnel, présenté devant l'élite musicale de Russie, marque un retour aux sources d'un chef-d'œuvre né de l'insistance de Giuseppina Strepponi, l'âme protectrice du génie de Verdi.

Contrairement à la version révisée de la Scala, cette partition initiale déploie une force dramatique brute et un final d'une noirceur absolue. Entre fresques chorales monumentales et une architecture sonore d'une ampleur inégalée, Saint-Pétersbourg demeure aujourd'hui le seul lieu au monde où l'on peut encore s'immerger dans la vision pure et authentique du Maestro. Assister à cette représentation, c'est toucher du doigt l'histoire vivante, là même où le destin de cet opéra fut scellé.

30 апреля 2026 года в Мариинском театре произойдет событие исключительной важности: исполнение оригинальной версии оперы «Сила судьбы», премьера которой состоялась здесь же 29 октября 1862 года. В тот вечер в присутствии самого Верди и музыкальной элиты России родилась одна из самых грандиозных опер в истории.

Этот шедевр возник благодаря настойчивости Джузеппины Стреппони, которая убедила композитора принять петербургский заказ. В отличие от поздней миланской редакции, оригинальная партитура обладает первозданной драматической мощью и монументальностью хоров. Санкт-Петербург остается единственным местом в мире, где этот шедевр можно услышать в его подлинном, первоначальном воплощении.

Il 30 aprile 2026, il Teatro Mariinsky ospiterà un evento di eccezionale rilievo: la rarissima esecuzione della versione originale de La forza del destino, che debuttò proprio a San Pietroburgo il 29 ottobre 1862. In quella storica serata, alla presenza di Verdi e dell'élite musicale russa, l'opera svelò la sua maestosa architettura sonora.

Nata grazie all'intuizione e alla determinazione di Giuseppina Strepponi, questa versione si distingue per una forza drammatica cruda e un finale tragico, diversi dalla revisione successiva della Scala. San Pietroburgo si conferma l'unico luogo al mondo capace di restituire la visione più pura e autentica del Maestro, celebrando un legame indissolubile tra la città e la genesi di questo capolavoro

El próximo 30 de abril de 2026, el Teatro Mariinsky de San Petersburgo acogerá un evento de relevancia internacional: la recuperación de la versión original de La forza del destino. Esta representación busca rescatar la partitura tal como Giuseppe Verdi la concibió para su estreno mundial en esta misma ciudad en 1862, un hito que, sin embargo, estuvo a punto de no producirse nunca.

A principios de la década de 1860, Verdi atravesaba una etapa de escepticismo creativo. Tras años de actividad frenética, el compositor se mostraba reacio a aceptar nuevos encargos, llegando a rechazar inicialmente las propuestas de la Dirección de los Teatros Imperiales de Rusia. Pese a las ventajosas condiciones económicas y el prestigio del encargo, el músico insistía en su voluntad de no volver a escribir para la escena.

El punto de inflexión en esta parálisis creativa fue la intervención de su esposa, Giuseppina Strepponi. Su papel fue determinante para que Verdi reconsiderara la oferta rusa. Fue bajo la insistencia y el apoyo crítico de Strepponi que el maestro retomó el interés por el drama romántico Don Álvaro o la fuerza del sino, del Duque de Rivas, una obra que ya conocía y cuya intensidad dramática consideró idónea para una gran ópera de dimensiones épicas y complejas masas corales.

Giuseppina Strepponi

La mediación de Strepponi no solo desbloqueó la voluntad del compositor, sino que permitió que la historia de la música sumara una de sus obras más ambiciosas. Lo que comenzó como una negativa rotunda terminó cristalizando en un proyecto colosal que unió culturalmente a Rusia y España a través del genio italiano. Por ello, la crítica histórica coincide en que la existencia de La forza del destino es, en gran medida, un logro atribuible a la persistencia de Giuseppina.

Tras el triunfo apoteósico del estreno en San Petersburgo el 29 de octubre de 1862, la ópera emprendió su viaje hacia la tierra que había inspirado su argumento. El estreno en Madrid tuvo lugar el 21 de febrero de 1863 en el Teatro Real, en presencia del propio Duque de Rivas, autor del drama original. Aquella noche, sin embargo, no contó con la asistencia de la soberana española, Isabel II, hecho que durante mucho tiempo dio lugar a confusiones históricas.

La llamada “función real” tuvo lugar en una representación posterior. Fue entonces cuando la Reina Isabel II, acompañada por el rey consorte Francisco de Asís de Borbón, acudió al teatro, movida por el extraordinario éxito que la obra había suscitado en la capital. El momento culminante de esta visita se produjo al término del tercer acto, cuando los monarcas hicieron llamar a Verdi al palco real para felicitarle personalmente. Aquel gesto no solo consagraba el triunfo artístico de la obra, sino que la elevaba a la categoría de acontecimiento social de primer orden, en el que la corona, la aristocracia y el público se unían en una misma admiración por el genio italiano.

Durante su estancia en Madrid, Verdi y Strepponi se alojaron en la Plaza de Oriente, frente al teatro, lo que les permitió vivir de manera directa el fervor de la sociedad madrileña. Banquetes, recepciones y homenajes se sucedieron durante semanas, en una atmósfera de entusiasmo que impresionó profundamente al compositor. Aunque fiel a su carácter reservado, Verdi dejó constancia de sus impresiones en su correspondencia privada. En una carta dirigida a su amigo Opprandino Arrivabene, fechada el 22 de febrero de 1863, escribió con satisfacción: “Éxito… ejecución admirable de los coros y de la orquesta”, reconociendo el alto nivel artístico alcanzado por el teatro madrileño.

Los cronistas de la época también recogieron su asombro ante la calurosa acogida del público español, cuyo entusiasmo llegó a comparar con el de sus mejores estrenos en Italia. España, que hasta entonces había sido para él una realidad literaria e imaginada, se convertía ahora en una experiencia viva y vibrante.

No obstante, este encuentro entre la obra original y su adaptación operística no estuvo exento de tensiones. El Duque de Rivas, aunque mantuvo siempre una actitud respetuosa hacia Verdi, experimentó una cierta insatisfacción íntima. Consideraba que el libreto de Francesco Maria Piave había simplificado la complejidad de su drama y alterado aspectos esenciales de los personajes. Particularmente significativo fue el tratamiento del final: aunque Verdi mantuvo el suicidio de Don Álvaro en la versión original, el Duque sentía que la música, con su poder expresivo, transformaba la crudeza literaria de su tragedia en algo distinto, acaso más universal, pero menos fiel al espíritu original. Esta tensión entre fidelidad literaria y transfiguración musical es, en sí misma, uno de los grandes debates estéticos del siglo XIX.

Tras su estancia en Madrid, Verdi emprendió un viaje por Andalucía que marcaría profundamente su imaginación. Junto a Strepponi, visitó ciudades como Seville, Córdoba, Granada, Jerez de la Frontera y Cádiz. En Sevilla encontró el eco real de los escenarios de su ópera; en Córdoba quedó impresionado por la singularidad arquitectónica de la Mezquita; y en Granada, ante la Alhambra, experimentó una auténtica revelación estética. Se dice que la describió como “un sueño hecho realidad”, una imagen que parece prolongar el exotismo romántico presente en su propia partitura.

El viaje no estuvo exento de incomodidades —las difíciles condiciones de transporte y algunos problemas de salud—, pero en conjunto supuso una experiencia profundamente enriquecedora. España dejaba de ser únicamente una fuente literaria para convertirse en una realidad vivida, intensamente sentida.

Así, cuando hoy evocamos La forza del destino en su versión original, comprendemos que no se trata solo de una obra nacida en San Petersburgo, sino de una creación profundamente europea, fruto del diálogo entre la literatura española, la sensibilidad italiana y la recepción entusiasta de públicos diversos.

Por ello, la representación del 30 de abril de 2026 en el Mariinsky adquiere un significado aún más profundo. Escuchar esta versión original es regresar al momento en que todas estas fuerzas —históricas, culturales y personales— confluyeron por primera vez. Es redescubrir a Verdi en el instante de su audacia creadora, impulsado por la intuición, por el amor y por la convicción, en gran medida gracias a Giuseppina Strepponi, de que aún tenía algo esencial que decir al mundo.

Será, sin duda, una experiencia irrepetible: no solo una representación, sino una auténtica resurrección de la historia.

Pour Giuseppe Verdi, Paris ne fut jamais une simple étape sur la carte de l’Europe musicale du XIXᵉ siècle : elle fut un refuge, un espace de liberté, et surtout le véritable berceau intime de son union avec Giuseppina Strepponi. Bien avant leur mariage, alors que leur relation suscitait en Italie critiques et incompréhensions, c’est dans la discrétion élégante de la capitale française que leur amour put s’épanouir loin des regards sévères de la société provinciale.

C’est en 1847 que leur lien se consolide véritablement, lorsque Verdi arrive à Paris pour superviser Jérusalem. Il y retrouve Giuseppina, retirée de la scène et installée comme professeur de chant. Ensemble, ils choisissent de vivre à Passy, alors aux portes de la ville, dans une atmosphère de calme et d’indépendance. Là, ils goûtent une liberté presque inconnue en Italie : celle de vivre côte à côte sans être mariés, dans une société parisienne plus tolérante, plus moderne, où l’artiste est jugé pour son génie plutôt que pour sa vie privée.

Rosa Ponselle & Enrico Caruso 

Paris devient ainsi leur « nid d’amour », mais aussi un centre vital de création et de réflexion. Verdi y observe, apprend, écoute. Il fréquente les théâtres, s’imprègne du goût français pour le grand opéra, affine son sens dramatique. Cette immersion influencera durablement son langage musical. C’est également dans cette ville, quelques années plus tard, qu’il assiste avec Giuseppina à La Dame aux camélias d’Alexandre Dumas fils, une expérience décisive qui inspirera directement la genèse de La traviata.

Mais au-delà de ces années fondatrices, Paris conserve pour Verdi une valeur constante : celle d’un port d’attache entre ses grands voyages européens. Lorsque l’aventure de La forza del destino le conduit vers Saint Petersburg, où l’opéra est créé en 1862, la capitale française s’impose naturellement comme une étape essentielle, presque indispensable. Le voyage vers la Russie est long, exigeant, ponctué de haltes, mais Paris en est le cœur vivant : un lieu où l’on s’arrête, où l’on respire, où l’on retrouve une forme d’équilibre.

Après le triomphe du premier grand opéra russe, Verdi et Strepponi quittent le froid impérial en décembre 1862 et choisissent de passer les fêtes de Noël et du Nouvel An à Paris. Ce séjour n’est pas anodin : il permet au compositeur de se reposer, de revoir certains détails de sa partition, mais aussi de renouer avec la vie culturelle qu’il affectionne tant. On peut aisément imaginer le couple assistant à des représentations, retrouvant les cercles artistiques, savourant cette parenthèse lumineuse entre deux événements majeurs.

C’est depuis Paris, en janvier 1863, qu’ils prennent ensuite la route de Madrid pour le second grand chapitre de l’histoire de l’opéra : sa création espagnole au Teatro Real. Ce passage par Paris n’est donc pas seulement géographique ; il est symbolique. Il relie deux mondes — la Russie impériale et l’Espagne romantique — à travers une ville qui incarne, pour Verdi, l’équilibre entre vie privée et ambition artistique.

Ainsi, Paris apparaît comme le véritable axe secret de cette trajectoire européenne. Sans elle, le voyage vers La forza del destino n’aurait pas la même cohérence, ni la même profondeur humaine. C’est là que Verdi retrouve Giuseppina, là qu’il construit avec elle une vie commune, là encore qu’il revient sans cesse, comme attiré par une force intime.

Dans le tumulte des triomphes, des voyages et des obligations, Paris reste pour eux un havre. Une ville aimée, intensément vécue, où l’homme derrière le compositeur peut exister librement. Et peut-être est-ce dans cette liberté, partagée avec Giuseppina, que réside une part du secret de cette musique si profondément humaine, si vibrante — une musique où le destin, justement, ne cesse de croiser l’amour.

30 апреля 2026 года сцена озарится особым светом — в этот вечер прозвучит La forza del destino, одна из самых глубоких и драматичных опер Джузеппе Верди, представленная на языке оригинала. Премьера этого шедевра состоялась 29 октября 1862 года, и с тех пор он остаётся воплощением вердиевского гения, исследующего темы судьбы, любви и искупления. Предстоящий спектакль обещает стать поистине исключительным событием — редким соединением великой музыки, выдающихся голосов и особой атмосферы театра, тесно связанного с русской оперной традицией.

В центре драмы — Леонора в исполнении блистательной сопрано Татьяны Сержан. Её искусство отличается редким сочетанием вокальной мощи и тончайшей выразительности. Прославленная интерпретаторша вердиевских героинь, она наполняет каждую партию психологической глубиной и богатством оттенков. Её Леонора предстанет перед зрителем как образ трагической силы — одновременно хрупкий и духовно возвышенный.

Партию Дон Альваро исполнит выдающийся тенор Ахмед Агади — певец с голосом редкой красоты и гибкости, обладающий ярким драматическим темпераментом. Его богатый репертуар и многолетний сценический опыт позволяют создавать образы, наполненные внутренним напряжением и благородством. В его исполнении Дон Альваро обретёт подлинную трагическую выразительность.

Роль Дон Карлоса воплотит баритон Алексей Марков, признанный мастер вердиевского репертуара. Его мощный, насыщенный голос и харизматичное сценическое присутствие делают его одним из ведущих исполнителей на крупнейших мировых сценах. Его Дон Карлос обещает стать воплощением неумолимой страсти и драматической силы.

В яркой партии Прециозиллы выступит меццо-сопрано Екатерина Семенчук — одна из самых востребованных певиц современности. Её голос отличается богатством тембра и выразительной глубиной, а сценическое мастерство придаёт каждому образу особую живость. Её Прециозилла наполнит спектакль энергией, блеском и драматическим контрастом.

Образ Падре Гвардиано создаст бас Юрий Воробьёв, обладающий глубоким, благородным тембром и особой внутренней сосредоточенностью. Его исполнение придаст роли духовную значимость и вес, делая её важным нравственным центром оперы.

Партию Фра Мелитоне исполнит баритон Андрей Спехов — артист с большим сценическим опытом и яркой индивидуальностью. Его мастерство позволит раскрыть как комические, так и философские грани этого персонажа, добавляя постановке живость и многогранность.

В этот вечер на сцене соберётся ансамбль выдающихся артистов, чьи карьеры связаны с крупнейшими театрами мира и высочайшими традициями оперного искусства. Их совместное исполнение вдохнёт новую жизнь в гениальное произведение Верди.

Это будет не просто спектакль, а настоящее событие — редкая возможность прикоснуться к великой музыке, пережить драму человеческих страстей и ощутить силу искусства, способного говорить напрямую с душой.

Во главе этого исключительного вечера будет стоять дирижёр Christian Knapp — музыкант с тонким художественным вкусом и большим опытом, способный с редкой чуткостью раскрыть всю глубину и драматическое напряжение La forza del destino. Его интерпретации отличаются гармоничным сочетанием строгости стиля и живой эмоциональности, что особенно важно для столь сложного и многослойного произведения Верди.

Высоко ценимый за свою универсальность и внимание к деталям, Кристиан Кнапп уверенно чувствует себя в различных оперных традициях, особенно в итальянском и французском репертуаре. Его дирижёрский жест точен и выразителен, позволяя оркестру и певцам дышать в едином музыкальном пространстве, создавая цельное и органичное звучание — признак подлинного мастерства.

Его участие в весеннем сезоне свидетельствует о значительном творческом масштабе: помимо La forza del destino 30 апреля, маэстро будет дирижировать операми Ernani (3 мая, две постановки), La bohème (5 мая), Il trovatore (6 мая) и Lakmé (12 мая). Такой насыщенный и престижный график подчёркивает его важную роль в музыкальной жизни театра.

Под его руководством спектакль 30 апреля обещает стать событием особой силы и выразительности — вечером, где великая музыка Верди зазвучит с новой глубиной, благородством и вдохновением.

Il 30 aprile 2026 si preannuncia come una serata di rara eccezione, destinata a entrare nella memoria musicale di San Pietroburgo. In questa città, intrisa di storia e di bellezza, meta di melomani e viaggiatori provenienti da ogni angolo del mondo, andrà in scena La forza del destino di Giuseppe Verdi in una forma che oggi si può definire unica: nella sua versione originale, così come concepita per il pubblico russo dell’Ottocento. Un privilegio che non si ritrova altrove, nemmeno nelle grandi capitali operistiche come Mosca.

La genesi di quest’opera è profondamente legata alla Russia imperiale. Fu infatti commissionata al Maestro italiano dal Teatro Bolshoi Kamenny — predecessore dell’attuale Teatro Mariinsky — allora sede della Compagnia Imperiale Italiana. La prima rappresentazione ebbe luogo il 29 ottobre 1862 (10 novembre secondo il calendario gregoriano), alla presenza dello stesso Verdi. Il pubblico, inizialmente spiazzato dalla cupezza e dalla forza tragica del libretto, manifestò reazioni contrastanti; tuttavia, il compositore ricevette l’elogio personale dello zar Alessandro II di Russia, che assistette a una delle recite successive, nonché il sostegno della critica più attenta.

Negli anni seguenti, l’opera intraprese un viaggio attraverso i grandi teatri d’Europa e del mondo — da Roma a Madrid, da Vienna a New York, fino a Buenos Aires e Londra — mentre Verdi stesso ne curava una profonda revisione. Affidò a Francesco Maria Piave, e successivamente a Antonio Ghislanzoni, la trasformazione del libretto, ritenuto eccessivamente cupo. Nacque così la versione definitiva del 1869, presentata al Teatro alla Scala, con un nuovo finale, una diversa struttura drammatica e la celebre ouverture sinfonica.

Eppure, accanto alla sua grandezza, La forza del destino porta con sé una fama quasi leggendaria di opera “maledetta”, segnata da eventi sfortunati nel corso della sua storia. Episodi come la tragica morte del baritono Leonard Warren sul palcoscenico del Metropolitan Opera House nel 1960 hanno contribuito a rafforzarne l’aura misteriosa.

In questo contesto così ricco di storia e suggestione, la rappresentazione del 30 aprile assume un valore ancora più straordinario. Sul podio, il maestro Christian Knapp guiderà un cast di assoluto prestigio:

Nel ruolo di Donna Leonora, la grande Tatiana Serjan, interprete di riferimento del repertorio verdiano, capace di coniugare potenza vocale e fine introspezione psicologica.

Don Alvaro sarà affidato al tenore Akhmed Agadi, artista di raffinata musicalità e intensa presenza scenica.

Il baritono Alexey Markov darà voce a Don Carlo, con la sua autorevolezza vocale e il suo temperamento drammatico.

La carismatica Ekaterina Semenchuk interpreterà Preziosilla, infondendo al personaggio energia e brillantezza.

Il ruolo di Padre Guardiano sarà sostenuto dal basso Yuri Vorobiev, la cui voce profonda conferirà alla figura una dimensione spirituale e solenne.

Infine, Fra Melitone prenderà vita grazie al baritono Andrei Spekhov, interprete esperto e ricco di sfumature.

Questa serata non sarà soltanto una rappresentazione operistica, ma un evento irripetibile: un incontro tra storia e arte, tra la tradizione italiana e l’anima russa, nel luogo stesso dove quest’opera vide la luce. Un’occasione per rivivere, nella sua autenticità più pura, il capolavoro di Verdi — là dove il destino stesso sembra aver deciso di compiersi.

A guidare questa straordinaria serata sarà il direttore d’orchestra Christian Knapp, musicista di grande esperienza e sensibilità, capace di affrontare con autorevolezza e finezza interpretativa il vasto repertorio operistico. La sua presenza sul podio rappresenta una garanzia di equilibrio tra tensione drammatica e raffinatezza musicale, qualità essenziali per rendere piena giustizia alla complessa architettura di La forza del destino.

Apprezzato per la sua versatilità e per l’attenzione al dettaglio sonoro, Christian Knapp ha costruito una carriera solida nei principali teatri europei, distinguendosi in particolare nel repertorio italiano e francese. Il suo gesto, al tempo stesso preciso ed espressivo, consente all’orchestra di respirare con i cantanti, creando quell’unità organica che è il segreto delle grandi serate d’opera.

La sua intensa presenza nella stagione primaverile testimonia inoltre un impegno artistico di grande rilievo: oltre a La forza del destino del 30 aprile, sarà impegnato sul podio in Ernani (3 maggio, in doppia recita), in La bohème (5 maggio), in Il trovatore (6 maggio) e in Lakmé (12 maggio). Un calendario fitto e prestigioso, che conferma la fiducia riposta in lui da uno dei templi mondiali dell’opera.

Sotto la sua direzione, l’esecuzione del 30 aprile si preannuncia come un momento di rara intensità, in cui la grande tradizione verdiana troverà nuova vita, esaltata da una lettura musicale profonda, elegante e ricca di sfumature.