Barcelona - Aida - Anna Netrebko - Opening Night Gala - Friday , 25th Sep 2026

Aida – Anna Netrebko – Opening Night – September 25, 2026

From the moment the new season of the Gran Teatre del Liceu was announced, something shifted within me. It was immediate, almost instinctive. My imagination ignited, my thoughts began to race ahead in time, and without even realizing it, I was already living in the future—already standing on that night. September 25, 2026. A Friday. 

And what a Friday it will be.

I have always loved Fridays. There is something inherently full of promise in them—the quiet anticipation of something about to begin, the sense that the ordinary is giving way to something more luminous. But this particular Friday transcends all others. It is not just the end of a week. It is the beginning of a memory.

Because on that night, everything aligns.

The opening of the Liceu season.

My favorite opera by Giuseppe Verdi.

My favorite tenor and mezzo-soprano roles.

And above all—the Aida I have dreamed of.

Anna Netrebko.

To write her name is already to feel the weight of expectation. But this is something beyond admiration. It is a kind of artistic inevitability. There are singers one admires, others one follows, and then there are those rare artists who define an era—who become, almost without effort, the reference point against which everything else is measured.

Netrebko belongs to that last category.

And in Aida, she becomes something even greater.

Giuseppe Verdi 

There are roles that are beautiful, and there are roles that are essential. Aida is essential. It demands not only vocal mastery but emotional truth, inner conflict, and a profound connection to Verdi’s world—a world of love, sacrifice, identity, and destiny. It is not enough to sing Aida. One must become her.

And that is precisely what I imagine will happen that night.

As the orchestra of the Liceu begins the prelude—soft, almost suspended in time—the theatre will hold its breath. And then, slowly, inevitably, she will appear.

Not just as a soprano.

But as Aida.

Her voice—dark velvet illuminated from within—will carry both fragility and grandeur. It will not impose itself; it will unfold. Phrase by phrase, emotion by emotion, she will draw us into a world where everything feels heightened, intensified, almost sacred.

And yet, she will not be alone.

At her side, Yusif Eyvazov

The definitive Radamès for our time, possessing a voice of striking metallic brilliance and unwavering resilience. His portrayal is marked by a rare combination of heroic power and Italianate 'squillo' that cuts through Verdi’s massive orchestrations with ease.Yet, it is his onstage alchemy with Anna Netrebko that elevates the performance to a legendary status. Their partnership transcends mere technical precision; it is a profound artistic symbiosis built over years of shared stagecraft. There is an instinctive trust in their phrasing and a visceral intensity in their gaze that cannot be rehearsed. When they share the stage, the boundaries between theatre and reality blur, creating a magnetic tension that only a duo with such a deep, long-standing creative bond could achieve.

There is a reason their pairing feels so inevitable.

His voice—metallic, direct, cutting through the orchestra with precision—forms the perfect counterbalance to her darker, more velvety timbre. Where she envelops, he penetrates. Where she shades, he projects. Together, they create a sonic architecture that fills the theatre completely.

But beyond technique, there is something deeper.

Trust.

Requiem - La Scala on 25 May 1874, with Verdi conducting. The soloists depicted are (left to right) Ormondo Maini , Giuseppe Capponi, Maria Waldmann, and Teresa Stolz . 

Verdi’s Requiem: A Historic Resonance at the Liceu""In a direct echo of Verdi’s legendary 1874 La Scala performance, the Gran Teatre del Liceu presents a new 'quartet of titans.' Under the masterful baton of Nicola Luisotti, the world-class voices of Lise Davidsen, Aigul Akhmetshina, Freddie De Tommaso, and Christian Van Horn unite for a seismic musical event. This rare convergence of talent ensures a performance of Verdi’s masterpiece that will be remembered for generations.

In the great duets of Aida, where emotion reaches its peak and the vocal writing becomes almost perilous, Eyvazov provides something invaluable: certainty. His secure upper register, his unwavering projection—these become the foundation upon which Netrebko can build her most nuanced, most daring interpretations.

He is, in many ways, the anchor that allows her to fly.

Completing this extraordinary triangle is Ekaterina Semenchuk as Amneris. 

If Netrebko is the soul and Eyvazov the force, Semenchuk is the fire. Her Amneris is not merely a rival—it is a storm.Having witnessed her monumental triumph in La Gioconda earlier this year, it is clear that Ekaterina is at the absolute zenith of her powers. Much like the legendary years of Tebaldi and Callas, both she and Anna have reached a 'golden maturity' in 2026. Their voices are now more secure, more expressive, and more resonant than ever before, offering a beauty that only comes with artistic seasoned wisdom.Semenchuk possesses a rare, chameleonic instrument capable of navigating the treacherous waters of both Gioconda and Turandot, making her duets with Netrebko a once-in-a-century event. The earth-shaking power of their confrontation will undoubtedly be matched by Ekaterina’s 'Judgment Scene,' where her dramatic authority and vocal opulence promise to leave the audience in a state of collective awe.

Her current momentum is truly unstoppable. Just a few days ago, on April 30th, Ekaterina achieved a monumental triumph in St. Petersburg. She performed in a historic production of La Forza del Destino at the very theatre where the opera was born. Most incredibly, she sang within the original 1862 stage setting—the exact same production that Verdi himself attended and supervised during the world premiere. To witness her command the stage in such a hallowed, historical context only confirms that she is the definitive Verdi voice of our era. Her success there is the perfect prelude to the historic duets we anticipate with Anna; it is as if the spirit of Verdi’s original vision is alive in her voice

Together, with Anna Netrebko and Yusif Eyvazov , they form what can only be described as a perfect Verdian triad.

A “triangle of steel.”

Three voices capable of riding Verdi’s vast orchestral waves without losing clarity. Three artists who do not simply perform drama, but inhabit it with a visceral intensity. Three timbres shaped by that unmistakable Eastern European depth—dark, burnished, and profoundly expressive.

Elevating this musical feast is the divine vision of Iranian director Shirin Neshat. Moving away from literal interpretations, Neshat embraces a world of symbolic beauty and overwhelming visual elegance.

Her production is a masterpiece of light and shadow, where the night belongs to the passion ignited by a Radamès who loves only Aida, and an Amneris obsessed with claiming a heart that is not hers.

The aesthetic is breathtaking: exquisite jewel-dresses inspired by the Golden Age of Persian craftsmanship clothe the rivals in fire and earth tones. This sophisticated interplay of lights and colors creates a magical atmosphere that will be equally captivating from every tier of the Liceu. It is a show where the brilliance of the staging meets the most definitive voices of our era—a poetic, melancholic, and fiery journey that is destined to become the 'Aida of the Century.

What makes Shirin Neshat’s direction truly divine is her ability to transform the operatic stage into a sanctuary of high art. For those who cherish elegance and formal beauty, her production of Aida is a masterpiece of restraint and impact. She does not rely on the literal or the cluttered; instead, she masters the art of captivating contrasts.Her vision is a sophisticated play of light and shadow, where the starkness of the architectural spaces meets the intricate richness of the costumes. The way she uses light is almost architectural itself—carving out the emotions of the characters and highlighting the 'jewel-dresses' that evoke the lost majesty of the Golden Age of Persia. It is an overwhelming visual elegance that treats every scene like a gallery-worthy photograph.The impact of Neshat’s work lies in its silence and its fire. She understands that true drama is found in the stillness of a gaze or the way a deep earth-tone silk catches the light. For a lover of refined productions, her work is a dream realized: a world where the spirit of ancient Egypt is reimagined through a Persian lens of exquisite beauty. Neshat does not just direct an opera; she sculpts a visual experience that is as hauntingly melancholic as it is fiercely passionate. It is, quite simply, fascinating.

As the final notes of Verdi’s score fade into the silence of the theater, one can already envision the thunderous 'Bravos' echoing from the gallery to the stalls. It is a production where history, fashion, and vocal genius collide—a visual and emotional masterpiece that will forever be remembered as the night the spirits of Persia and Egypt met on the stage of the Liceu.

In a theatre like the Liceu, this combination is not just effective.

It is explosive. And this is why that night feels so inevitable.

Because everything about it suggests not just excellence, but alignment.

Outside, Barcelona will glow with that late-summer warmth, the city alive with movement and anticipation. Inside, the theatre will gather a world of listeners—each carrying their own expectations, their own memories, their own reasons for being there.

But when the curtain rises, all of that will dissolve.

There will be only Verdi. Only Aida. Only that voice.

And perhaps that is what moves me most—the awareness that this night will not come again. That it exists only once, suspended in time, waiting to be lived fully, intensely, without distraction.

The summer before it… will feel endless.

And yet, in a strange way, that is part of the beauty.

Because every day of that summer will carry a quiet, luminous thought:

This is coming. This night exists. And I will be there. Waiting for the first note.

From the moment the season was announced, everything began to orbit around that night. Not simply because it is the opening, but because it carries the unmistakable aura of inevitability—the sense that something extraordinary will occur, something that will be spoken of long after the final applause has dissolved into memory.

The season itself unfolds like a dream carefully composed. Verdi, Bellini, Mozart, Wagner — pillars of the repertoire brought to life by some of the most extraordinary voices of our time. One reads the names of such great stars and feels a quiet astonishment: Anna Netrebko, Ekaterina Semenchuk, Fiorenza Cedolins, Ksenia Dudnikova, Anna Pirozzi, Olga Maslova, Ewa Plonka, Yusif Eyvazov, Piotr Beczala, Artur Rucinski, Ariun Ganbaatar, Lisette Oropesa, Marina Monzó, Caterina Piva , Raffaella Lupinacci, Karine Deshayes, Jack Swanson, Marianne Crebassa, Lina Johnson, Freddie De Tommaso, Pene Pati, Roberto Alagna, Kang Wang, Artur Rucinski, Andrzej Filonczyk, Pretty Yende, Ermonela Jaho, Carolina López Moreno, Serena Sanz, Sara Blanch, Stefano Palatchi, Bo Skovhus, Nicholas Brownlee, Tanja Ariane Baumgartner, Okka von der Damerau, Nicky Spence, Mikeldi Atxalandabaso, Sondra Radvanovsky, Angelo Villari, Àngel Òdena, Hilary Summers, Claudia Boyle, Christine Rice, Ilanah Lobel-Torres, Nicky Spence, Askim Grigorian, Marta Infante, Nina Stemme, Elsa Benoit, Florian Sempey, Josep Bros, Laura del Río, Aigul Akhmetshina.

Each of them could anchor a season. Here, they form a galaxy of wonderful voices.

And yet—even among such brilliance—there is one star whose gravity is absolute.

Anna Netrebko.

To speak of anticipation is almost insufficient. What surrounds her appearance as Aida is something closer to a collective emotional crescendo, building month after month, fed by memory, admiration, and the simple, undeniable truth that we are witnessing one of the defining artists of our era in a role that seems destined for her.

Aida.

There are roles that singers perform, and there are roles that reveal them. Aida belongs to the latter. It demands not only vocal grandeur but also vulnerability, introspection, and an almost spiritual connection to Verdi’s musical language. In the hands of Netrebko, one senses that this role will not merely be sung—it will be lived, inhabited, transformed into something intensely personal and, at the same time, universally resonant.

But before a single note is heard, before the orchestra breathes its first phrase, there is the city.

Barcelona on that evening will not simply host an event; it will become an atmosphere.

As the sun lowers itself into the Mediterranean, the light over the city takes on that golden softness that feels almost cinematic. Along the coast, in Port Vell and beyond, the silhouettes of yachts gather like quiet witnesses to what is about to unfold. These are not incidental presences—they are part of the ritual. Their passengers, having crossed seas or continents, arrive not merely as spectators but as participants in a global pilgrimage of culture.

At Barcelona–El Prat Airport, private jets touch down with quiet precision, releasing into the Catalan air figures whose lives are usually defined by distance and exclusivity. And yet, on this night, all distances collapse into a single destination: the Liceu.

By the time the first guests approach La Rambla, the transformation is complete.

The theatre stands illuminated, its façade both welcoming and majestic, as if aware of its own role in the evening’s narrative. The red carpet extends outward like an invitation—and a statement. It is not merely a path; it is a threshold between the everyday and the exceptional.

And what a gathering it becomes.

The elegance is immediate, but it is also layered. There are the great figures of Catalan cultural life, dignified and rooted, sharing space with international collectors of experience—individuals for whom opera is not simply entertainment but a form of emotional truth. One glimpses guests from Latin America, from Europe, from Asia—voices in different languages, united by a single expectation.

Fashion moves like a living gallery: couture that reflects not only wealth but intention, taste, and the desire to honor the occasion. There is a rhythm to the arrivals, a choreography of presence and perception. Cameras flash, but even the photographers seem aware that they are documenting a prelude, not the main act.

Because the true center of gravity is not outside.

It is behind the curtain.

Inside the theatre, beyond the golden proscenium, beyond the murmurs and the chandeliers, Anna Netrebko is already there. Preparing. Focusing. Entering that sacred space where the artist withdraws from the world in order to give it something greater.

There is something profoundly moving in this contrast. Outside, movement, light, voices. Inside, stillness. Concentration. The quiet forging of what will soon become sound, emotion, revelation.

Meanwhile, in the Saló dels Miralls, conversations unfold in a dozen languages. Glasses meet in soft toasts. Names are exchanged, recognitions spark, and yet—beneath it all—there is a shared awareness that everything leads to the same moment.

When the lights dim.

When the orchestra begins.

When Verdi’s music rises like a breath drawn collectively by everyone in the room.

And then—Aida.

The opening night cast itself reads like a declaration:

Yusif Eyvazov as Radamès, bringing a voice of heroic intensity and ardent expression. His timbre, unmistakable and direct, carries the kind of emotional immediacy that makes Verdi’s lines feel urgent, alive.

Ekaterina Semenchuk as Amneris, a role she inhabits with formidable authority. Hers is not merely a voice—it is an instrument of dramatic truth, capable of both regal command and devastating vulnerability.

And at the center, Netrebko’s Aida—fragile and immense, intimate and monumental. A voice that can whisper and fill a theatre in the same breath. A presence that transforms the stage into something almost sacred.

That night will not be just a performance. It will be a convergence of artistry at its highest level—a moment in which everything aligns: the music, the voices, the audience, the city.

And yet, the richness of this Aida extends far beyond its opening.

The multiple casts offer a panorama of interpretations, each bringing new color and perspective. Anna Pirozzi’s Aida, for instance, promises a different but equally compelling journey—her voice, generous and luminous, infused with that unmistakable Verdian amplitude that speaks directly to the heart. Olga Maslova and Ewa Plonka add further depth, ensuring that each performance carries its own identity, its own emotional architecture.

The same multiplicity enriches the roles of Amneris and Radamès, with artists such as Ksenia Dudnikova, Fiorenza Cedolins, Piotr Beczała, and Arsen Soghomonyan contributing their distinct vocal and dramatic signatures. It is this abundance that transforms Aida from a single highlight into a sustained celebration.

Beyond Verdi, the season continues to unfold with equal elegance.

Bellini returns in I Capuleti e i Montecchi, where Lisette Oropesa takes on Giulietta—a role that seems written for her sensibility. There is a purity in her singing, a line so refined that it feels almost suspended in air. Her artistry does not impose; it reveals. And in Bellini, that quality becomes transcendent.

Mozart’s La clemenza di Tito offers a different emotional landscape—one of introspection, moral complexity, and luminous balance. Under refined musical direction, it becomes not just an opera, but a meditation on power, forgiveness, and humanity.

And then, like a summit awaiting ascent, the presence of Lise Davidsen. To hear her in Verdi is to encounter a voice that seems almost elemental—vast, radiant, unyielding. She represents something rare: not only excellence, but expansion. The sense that the art form itself grows through her.To follow her journey beyond Barcelona—to Berlin, to La forza del destino—is to trace the arc of a truly exceptional career, one that defines an era.

And so, the season unfolds.

But always, the mind returns to that first night.

To the anticipation that builds not only in the weeks before, but in the imagination itself. To the knowledge that, in a world so often fragmented and fleeting, there are still moments that gather us together—across languages, across cultures, across lives—for a shared experience of beauty.

Teresa Stolz - Aida - 1872

The True Premiere: Verdi, Stolz, and the Birth of Aida" "The genesis of Aida is a story of artistic obsession and uncompromising standards. Although the opera saw its world premiere in Cairo in 1871 to celebrate the opening of the Suez Canal, Giuseppe Verdi was famously absent. He had no desire to undertake the long journey to Egypt, but more importantly, he felt that a premiere in front of an invited audience of dignitaries and aristocrats was not a 'true' musical event.For Verdi, the official premiere took place months later, in 1872, at Teatro alla Scala in Milan. This was the performance he personally supervised, and it was here that he introduced the world to his ideal protagonist: Teresa Stolz .Stolz was the 'Stravadaria' of sopranos, possessing a voice of bronze-like power and ethereal silk. Verdi wrote the role with her specific timbre in mind—a voice that could cut through a massive orchestra yet float the most delicate pianissimos. In Milan, under Verdi’s direct guidance, Stolz defined the role of the Ethiopian princess for eternity.The composer’s refusal to go to Cairo was a statement of intent: he believed that music belonged to the public and the sanctuary of the opera house, not to political spectacles. By choosing Milan and Stolz, Verdi ensured that Aida would not be remembered as a mere commission for the Khedive, but as a masterpiece of human emotion and vocal supremacy.

The journey of Aida across the world is not simply the history of an opera—it is the story of how a work of art becomes universal, transcending borders, languages, and generations. From its very conception, Giuseppe Verdi created something that would not remain confined to a single stage or audience, but would instead travel, evolve, and embed itself deeply into the cultural fabric of the world.

Origins: Cairo and the Birth of a Global Masterpiece

Aida was born under extraordinary circumstances. Commissioned for the Khedivial Opera House in Cairo, its premiere on December 24, 1871, was already an event of international significance. The opera was conceived as a celebration of Egypt’s cultural prestige, and its staging reflected an unprecedented level of historical and visual ambition. The renowned Egyptologist Auguste Mariette designed the costumes and supervised the scenic concept, ensuring an exotic authenticity that fascinated European audiences.

Despite Giuseppe Verdi not attending the premiere, the reception was overwhelmingly enthusiastic. Contemporary accounts describe a captivated audience, interrupting the performance repeatedly with applause, reacting not just to arias but to phrases—an indication of how immediately the music resonated.

Yet, for Verdi, this was not the true test.

Milan 1872: The Definitive Artistic Triumph

The composer considered the European premiere at Teatro alla Scala on February 8, 1872, to be the real validation of Aida. Here, everything aligned under his closer supervision.

The role of Aida had been written specifically for Teresa Stolz, whose voice embodied the dramatic and lyrical qualities Verdi envisioned. Alongside her, Maria Waldmann as Amneris became the composer’s favored interpreter of the role, shaping its performance tradition for years to come.

The Milan premiere was a triumph. Critics and audiences alike recognized that Aida was not merely another success—it was a turning point in Verdi’s career, combining the grandeur of French grand opera with the emotional intimacy of Italian lyricism.

Interestingly, Verdi had composed an alternative overture to replace the original prelude but ultimately rejected it, calling it “pretentious insipidity.” This unused symphonic piece would later attract interest, performed by conductors such as Arturo Toscanini in 1940 and, more recently, by Riccardo Chailly and John Eliot Gardiner.

Expansion Across Italy and Europe

Following Milan, Aida spread rapidly throughout Italy, appearing in major theatres such as:

Teatro Regio di Parma (1872)

Teatro di San Carlo (1873)

La Fenice (1873)

Teatro Regio di Torino (1874)

Teatro Costanzi (1881)

In many of these productions, Verdi himself was directly involved, refining details and ensuring interpretative fidelity. This hands-on approach helped establish a performance tradition that would influence generations.

A Global Phenomenon: Late 19th Century

What followed was nothing short of extraordinary. Within just a few years, Aida had become a global phenomenon, performed across continents:

Mexico City (1877) at the Gran Teatro Nacional

Lisbon (1878) at the Teatro Nacional de São Carlos

Paris (1880) at the Palais Garnier

New York (1886) at the Metropolitan Opera

One particularly legendary moment occurred in Rio de Janeiro in 1886. During rehearsals, internal conflicts within the company led to a crisis. A young cellist, only 19 years old—Arturo Toscanini—was asked to conduct. He led the entire opera from memory, launching what would become one of the most illustrious conducting careers in history.

By the late 19th century, Aida had reached:

Teatro Real (1874)

Vienna State Opera (1874)

Hungarian State Opera House (1875)

Mariinsky Theatre (1875)

Royal Opera House (1876)

Its rapid dissemination reflects not only its popularity but its adaptability—Aida could be performed in Italian, French, or translated versions, always retaining its dramatic power.

The 20th Century: Recording, Broadcasting, and Legends

In the 20th century, Aida entered a new phase—one defined by technology and iconic interpretations.

A landmark moment came in 1949, when a complete performance conducted by Arturo Toscanini was broadcast on NBC television from New York, featuring Herva Nelli and Richard Tucker. This brought Aida into homes, expanding its reach beyond the opera house.

Other legendary performances include:

1955: Maria Callas under Tullio Serafin

1959: Renata Tebaldi under Herbert von Karajan

Each of these interpretations redefined the role, highlighting different aspects of Aida’s character—from Callas’s dramatic intensity to Tebaldi’s vocal opulence.

Aida Today: A Living Tradition

Today, Aida remains one of the most performed operas in the world. Its appeal lies in its unique balance: spectacle and intimacy, grandeur and humanity. It can fill vast arenas like the Arena di Verona, yet remain deeply moving in more intimate theatres.

Modern productions continue to reinterpret its themes—identity, exile, love, and sacrifice—while maintaining the musical integrity that has made it timeless.

From Cairo to Milan, from New York to Tokyo, from the 19th century to the present day, Aida has never ceased to evolve.

And that is perhaps its greatest achievement.

It is not a relic of the past.

It is a living work—one that continues to find new voices, new audiences, and new meanings.

Each performance adds another layer to its history.

Each generation rediscovers it.

And each time the curtain rises, somewhere in the world, Verdi’s music reminds us why Aida endures—not only as an opera, but as a universal human experience.

Milan - Turandot - Teatro alla Scala - 1 to 29 April 2026 - Anna Pirozzi - Roberto Alagna

April unfolds under the radiant and inexorable aura of Giacomo Puccini, whose Turandot stands as both a monumental farewell and an eternal enigma. In this final, unfinished masterpiece, Puccini pushes the human voice to its limits, sculpting a sound world where orchestral brilliance and vocal grandeur collide in a drama of elemental force. It is an opera that demands not only voices of exceptional power, but artists capable of transcending mere virtuosity to reach a realm of pure theatrical truth.

At the center of this vast sonic architecture rises the formidable figure of Turandot, entrusted here to two extraordinary interpreters. Anna Pirozzi embodies the role with commanding authority, her voice gleaming with steely brilliance yet always anchored in a refined and disciplined musical line. Her ascent into the role’s perilous upper register is fearless, but never merely demonstrative; instead, it reveals a singer deeply attuned to the Italian tradition, where power and phrasing coexist in perfect equilibrium. Alongside her, Ewa Płonka offers a strikingly different yet equally compelling vision: a darker, more incisive timbre, cutting through Puccini’s dense orchestration with unrelenting force. Her Turandot is sculpted in shadow and fire, a voice that does not yield, but dominates.

The role of Calaf finds in Roberto Alagna an interpreter of rare charisma and enduring artistry. Fresh from a triumphant run in Miami in this very role, Alagna arrives with renewed authority, bringing with him the imprint of recent success and a deepened understanding of the character. His voice, infused with unmistakable lyric warmth, expands effortlessly into heroic declamation, shaping phrases with elegance and emotional immediacy. In his hands, “Nessun dorma” transcends its iconic status, becoming a moment of intimate revelation as much as vocal triumph.

Sharing the role, Angelo Villari confirms his ascent among today’s most compelling spinto tenors. His Calaf is marked by a generous, vibrant vocalism and a visceral dramatic commitment. Not long ago, he achieved remarkable success in Barcelona in La forza del destino, a performance I witnessed firsthand—an unforgettable series of evenings in which he alternated the demanding role of Don Álvaro with Francesco Pio Galasso, alongside the formidable presence of Anna Pirozzi and Saioa Hernández. Those performances left a lasting impression for their intensity and vocal amplitude, and they now resonate as a significant milestone in Villari’s artistic journey. In Turandot, he brings that same fervor and vocal courage, shaping a prince of ardent resolve and human vulnerability.

Equally essential to the opera’s emotional core is Liù, portrayed with exquisite sensitivity by Mariangela Sicilia. Her voice, luminous and pure, becomes the embodiment of tenderness within Puccini’s vast and often unforgiving soundscape. Through her, the music breathes with a fragile humanity, culminating in moments of profound pathos that stand in stark contrast to the opera’s monumental scale.

Presiding over this extraordinary assembly is the baton of Nicola Luisotti, a conductor whose affinity for Puccini is both instinctive and deeply cultivated. His direction is marked by breadth, clarity, and an unwavering commitment to the primacy of the voice. Under his guidance, the orchestra does not overwhelm but supports, allowing each vocal line to emerge with natural freedom while preserving the dramatic tension that defines the score. Luisotti shapes the performance with a sense of architectural vision, balancing grandeur and intimacy in a reading that feels at once expansive and deeply rooted in the Italian operatic tradition.

In such a convergence of voices, experience, and musical intelligence, Turandot reveals itself anew—not merely as an unfinished work, but as a living testament to Puccini’s genius. Here, the extremes of human expression—cruelty and compassion, ice and fire—are carried not by spectacle, but by the sheer power of the human voice, elevated to its highest, most transcendent form.

Aprile si apre sotto il segno della grandezza pucciniana, con Turandot, testamento artistico di un genio che ha saputo trasformare la voce umana in pura materia drammatica. In quest’opera estrema e abbagliante, tutto converge verso un equilibrio fragile e potentissimo tra orchestra e canto, tra slancio lirico e tensione teatrale.

Al centro di questo universo sonoro si erge la figura implacabile di Turandot, incarnata da due interpreti di statura eccezionale. Anna Pirozzi offre una lettura di straordinaria solidità tecnica e di luminosa proiezione, capace di dominare con naturalezza le impervie vette della scrittura pucciniana, senza mai rinunciare a una linea di canto nobile e scolpita. Accanto a lei, Ewa Płonka impone una presenza vocale di acciaio, con un timbro più scuro e penetrante, che attraversa l’orchestra con impressionante autorità, restituendo una principessa di gelo e fuoco al tempo stesso.

Il ruolo di Calaf trova in Roberto Alagna un interprete carismatico e profondamente musicale. La sua voce,  intrisa di un lirismo appassionato, sa unire eleganza di fraseggio e slancio eroico, rendendo “Nessun dorma” non solo un’aria celeberrima, ma un momento di autentica verità teatrale. Angelo Villari, dal canto suo, rappresenta una presenza di grande interesse: la sua vocalità spinta, generosa e vibrante, si presta con naturalezza al profilo ardente del principe ignoto, offrendo un’alternativa intensa e visceralmente coinvolgente.

Di rara bellezza è anche il contributo di Liù, affidata a Mariangela Sicilia, la cui sensibilità musicale e purezza timbrica danno vita a una figura di struggente umanità. Il suo canto, sospeso tra fragilità e coraggio, diventa il vero cuore emotivo dell’opera, culminando in pagine di commovente intensità.

A guidare questo straordinario affresco sonoro è la bacchetta di Nicola Luisotti, interprete profondamente affine al linguaggio pucciniano. La sua direzione si distingue per ampiezza di respiro, attenzione al dettaglio orchestrale e, soprattutto, per una costante cura nel sostenere e valorizzare le voci, lasciando che il canto si espanda con naturalezza senza mai essere sopraffatto. Ne risulta una lettura vibrante, teatrale e autenticamente italiana, in cui orchestra e palcoscenico respirano all’unisono.

In questo incontro tra grandi voci e una direzione ispirata, Turandot rivela ancora una volta tutta la sua forza: quella di un’opera incompiuta eppure assoluta, capace di parlare direttamente all’anima attraverso il mistero, la potenza e la bellezza del canto.

New York - Season 2026 / 2027 - Aida

What an extraordinary season is coming up at the Metropolitan Opera! I'm still struggling to contain my excitement at the announcement of the 2026–2027 season: a perfect blend of great classics, bold new productions, and absolutely dazzling casts. It's one of those seasons that reminds us why we love opera so passionately.

From the very first moment, the curtain will rise powerfully with Giuseppe Verdi's Macbeth, chosen to open the season. And what an opening it will be: none other than the magnificent Lise Davidsen as Lady Macbeth. Her powerful and magnetic voice promises an electrifying evening, full of dramatic intensity and Verdian fire.

Among the titles I'm most excited to see again is Verdi's Aida, with its lavish production that never fails to impress. I'm especially thrilled to know that it will feature the wonderful Anna Pirozzi, one of the great dramatic sopranos of our time. And, of course, discovering new Aidas and Amneris will be part of the pleasure: there's nothing more exciting than hearing new voices take on these imperial roles.

Another of my dream comebacks is Giacomo Puccini's La Bohème, always so moving and timeless. Each performance is an invitation to fall in love with Mimì and Rodolfo all over again.

And speaking of Puccini… Tosca! For me, the most fabulous opera he ever wrote. This season will be a true feast for Tosca lovers, with a variety of performers that makes each performance unique. That's the magic of the Met: different sopranos, each with her own style, her own fire, her own way of tearing at our hearts.

Among my favorites will be Aleksandra Kurzak, Sondra Radvanovsky, Eleonora Buratto, Natalya Romaniw, and the impressive Saioa Hernández, fresh from her triumph as Gioconda, who will be kicking off this series of performances. Drama, passion, and stage presence! These will be absolutely unmissable evenings.

I am also eagerly anticipating Maria Stuarda by Gaetano Donizetti, one of my favorite operas from the celebrated Tudor trilogy. And what a privilege to have the star Lisette Oropesa, who has already triumphed as the Queen of Scots in Madrid. Her bel canto sensitivity and dramatic intensity promise unforgettable moments.

In the French repertoire, Jules Massenet's Manon holds a very special place in my heart. Rediscovering it with the voice that captivates me, the marvelous Nadine Sierra, will undoubtedly be one of the season's highlights.

The season also shines with beloved titles such as Così fan tutte and the festive Christmas presentation of The Magic Flute, both masterpieces by Wolfgang Amadeus Mozart. It is always a gift to return to Mozart, and even more so in a home like the Met.

In the dramatic and monumental repertoire, we find Otello, Richard Wagner's Parsifal, Richard Strauss's Der Rosenkavalier, Camille Saint-Saëns's Samson et Dalila, and Luigi Cherubini's Medea: titles that demand stellar voices and extraordinary interpretive intensity.

And I can't fail to mention the new productions that bring freshness and variety, such as Kevin Puts's Silent Night and Missy Mazzoli's Lincoln in the Bardo. It's wonderful to see how the Met combines tradition and modernity, offering both the great pillars of the repertoire and contemporary works that broaden horizons.

The season also includes gems like Leoš Janáček's Jenůfa and La Fanciulla del West, another new Puccini production that promises to be captivating.

Honestly, I couldn't single out just one title: they all thrill me deeply. But what excites me most is seeing so many of my favorite sopranos together in roles I adore. Yes, the tenors and baritones are absolutely stellar, the cast is dazzling… but my heart beats especially strongly for these titles and for these great divas who will bring immortal characters to life.

The Met’s 2026–2027 season is shaping up to be fabulous, varied, and exciting. For those of us who love opera—and especially for lovers of Puccini, Verdi, Donizetti, and Mozart—we are in for a treat.

Now there’s only one thing left to do: wait with bated breath for the curtain to rise. And enjoy, performance after performance, the unique magic of the Met.

There are seasons… and then there are seasons that feel almost providential. The 2026–2027 lineup at the Metropolitan Opera is not merely a calendar of performances—it is a radiant affirmation that opera, in the 21st century, is gloriously alive. For those of us who believe that opera is the supreme synthesis of human imagination—where music, poetry, theater, image, and raw emotion converge into something transcendent—this season feels nothing short of divine.

At the heart of my excitement stand the sopranos. The luminous, fearless, incandescent women who carry forward a lineage that stretches back through the most sacred names in operatic history. These are the voices of our century—artists who take the torch from legends and ensure that the flame burns brighter than ever.

Let us begin with Aida, Verdi’s monumental hymn to love, sacrifice, and destiny. This production, already famed for its splendor, becomes even more thrilling with the presence of the magnificent Anna Pirozzi. Pirozzi possesses a voice of blazing amplitude and bronze-like brilliance, yet she tempers that power with extraordinary sensitivity. Her high notes soar like sunlit banners over the Nile, while her pianissimi shimmer with heartbreaking vulnerability. In her artistry one feels the echo of the great Aidas of the past—Leontyne Price, Shirley Verrett, Grace Bumbry, Martina Arroyo—yet she is unmistakably, thrillingly modern.

And how wonderful to anticipate Angel Blue at the Met, whose voice combines velvety warmth with radiant steel. She sings with a sincerity that pierces the heart; there is an emotional truth in her phrasing that feels almost confessional. Hers is a voice that wraps the audience in velvet and then, in a single phrase, sets it ablaze. I'm so excited to discover Leah Hawkins' voice in Aida.

On September 22, 2026, there will be no place in the world where an opera lover should be but Manhattan. That night, the curtain at the Metropolitan Opera House will rise to open the season with an event already generating fervor in all operatic circles: Lise Davidsen's debut as Lady Macbeth.

The great Norwegian soprano, one of the most imposing, majestic and admired voices of our time, will take on for the first time one of the most feared and fascinating roles ever written by Giuseppe Verdi.

Lady Macbeth is no ordinary role. It is a vocal and dramatic abyss. Verdi, obsessed with expressive intensity, had the soprano from the Florence premiere rehearse more than 150 times. He wasn't looking for conventional beauty: he demanded character, ferocity, darkness, theatrical electricity. New York, as demanding as Verdi himself, expects exactly that.

And Davidsen has everything she needs to set the stage ablaze.mporada 

In Maria Stuarda by Gaetano Donizetti—the jewel of the Tudor trilogy—my anticipation is almost unbearable. This opera occupies a sacred place in my heart. I listen endlessly to the Tudor trilogy, especially as immortalized by Beverly Sills, whose queens remain benchmarks of bel canto artistry. And now, the role returns in triumph with Lisette Oropesa, a soprano of crystalline precision and expressive fire. Oropesa’s technique is immaculate, her coloratura like spun silver, yet what moves me most is her dramatic intensity. She does not merely sing Maria—she becomes the doomed queen, regal and fragile, proud and wounded. It feels like the continuation of a grand tradition. And oh—if only the Met would crown this Tudor journey with Anna Bolena in 2028! That would be operatic paradise.

Then there is Manon by Jules Massenet, one of the most intoxicating jewels of the French repertoire. How delicious to rediscover it through the voice of Nadine Sierra. Sierra’s timbre is pure satin, glowing and youthful, yet supported by impeccable technique and dramatic intelligence. She evokes the elegance and charm once embodied by Beverly Sills, yet she brings her own irresistible sparkle. Her Manon promises to be seductive, tender, capricious, and tragic—all in a single, shimmering arc.

And then—Tosca. Tosca by Giacomo Puccini remains, to me, the most theatrically perfect opera ever written. Passion distilled into three acts. And what a constellation of Toscas this season offers.

Sondra Radvanovsky, with her volcanic intensity and fearless dramatic commitment, channels the spirit of Maria Callas—not by imitation, but through a shared willingness to risk everything emotionally. Her voice can blaze like lightning and then break into the most fragile prayer.

Aleksandra Kurzak brings elegance and emotional immediacy, a silken line that can suddenly ignite into flame.

Saioa Hernández—currently triumphing as Gioconda—arrives with a voice of molten gold, expansive and thrilling, capable of filling the house with sumptuous tone while maintaining dramatic precision.

Each Tosca will be different. That is the miracle of the Met: the same score, yet infinite interpretations. We remember the towering legacies of Renata Tebaldi and Montserrat Caballé—voices that defined eras. And yet, these 21st-century sopranos prove that the lineage is unbroken. The torch passes, the fire remains.

The season’s grandeur extends further: Macbeth, Otello, Parsifal, Der Rosenkavalier, Samson et Dalila, and the magic of The Magic Flute—each title a pillar of the repertoire, each demanding voices of heroic scale and refined artistry.

But what moves me most is this: opera endures because of artists like these. Because new generations rise to meet the impossible standards set by the past—and then surpass them in their own way. Opera is, to me, the supreme art form. Cinema and theater are magnificent, of course. But opera is the ultimate human creation: the total artwork, where orchestra, poetry, stagecraft, light, costume, voice, and soul converge into transcendence.

As a French philosopher once suggested, if one can spend a couple of hours at the opera, life is already justified.

And with a season like this at the Metropolitan Opera—divine in its ambition, incandescent in its casting, resplendent in its repertoire—we are not merely attending performances. We are witnessing the continuation of greatness.

I am counting the days. And my heart is already in the opera house. 

New York - Aida - Metropolitan Opera House - 2027

What a delightful thrill to think about what awaits us in the 2026–2027 season at the Metropolitan Opera House! It seems far off, but we know that time flies… and before we know it, the Met lights will dim, the curtain will rise, and ancient Egypt will come alive with Giuseppe Verdi’s majestic Aida.

Premiered in 1871 at the Khedival Opera House, Aida is the quintessential grand opera: monumental, dazzling, with imposing choruses and sumptuous ballets, yet at its core profoundly intimate. Amidst military glory and pharaonic splendor beats a story of impossible love, of loyalty torn between duty and heart. Few works have managed to unite the spectacular and the human with such perfection.

And the Met knows it. That’s why one of its most lavish productions is returning, with costumes that evoke the golden age of Hollywood—as if we were witnessing Cleopatra’s triumphant entrance in the style of Elizabeth Taylor. It will be a breathtaking visual and musical experience.

Three Aidas… three dreams

The grandeur of this season is concentrated in one wonderful detail: three extraordinary sopranos embodying the Ethiopian princess!

🌟 Angel Blue

Opening night, March 9, 2027, will be hers. Born in Los Angeles and a Grammy Award winner, Angel Blue possesses a velvety, luminous timbre, with a vocal range and nobility that have led many to consider her the great heir to Leontyne Price in the 21st century. Her Aida promises to be majestic and profoundly human: a queen on stage and, at the same time, a vulnerable woman torn apart by love. March will be her month, and New York will know it.

🌟 Anna Pirozzi

In April, the dramatic intensity will take on a new dimension with Anna Pirozzi. With a powerful, incisive, and electrifying voice, the Italian soprano brings a tragic force that transforms every phrase into a fiery declaration. Her Aida will be passionate, almost volcanic, with brilliant high notes that will pierce the hall like fiery lances. A performance that promises to be breathtaking.

🌟 Leah Hawkins

The Aida of late spring and early summer will be Leah Hawkins, a native of Philadelphia. Elegant, highly musical, with exquisite phrasing, her voice combines lyricism and breadth with a deeply moving sensitivity. Her approach to the character promises to be introspective and refined, highlighting the most poetic and spiritual dimension of the Ethiopian princess. A dreamlike Aida to close the series with a flourish.

Three distinct visions. Three vocal personalities. Three irresistible reasons to want to attend… all of them!

Musical Direction

Daniele Callegari

Marco Armiliato

John Keenan

Aida

Angel Blue

Anna Pirozzi

Leah Hawkins

Amneris

Judit Kutasi

Olesya Petrova

Radamès

Michael Fabiano

SeokJong Baek

Amonasro

Quinn Kelsey

George Gagnidze

Michael Chioldi

Ramfis

Alexander Köpeczi

Soloman Howard

The King

Huanhong Li

Harold Wilson

Krzysztof Bączyk

The night of March 9, 2027, will mark the beginning of a series that promises to be historic. New York will be there. The Met's audience, always demanding and passionate, will be captivated by the magnificence of this production and the galaxy of artists who will bring it to life.

And you've said it perfectly: the only dilemma will be deciding which Aida to listen to… although, to be honest, the best decision will be to experience all three. Because each one will reveal a different facet of this immortal work, and each performance will be unrepeatable.

Quel plaisir de penser à ce que nous réserve la saison 2026-2027 au Metropolitan Opera House ! Cela paraît encore loin, mais le temps passe vite… et bientôt, les lumières du Met s’éteindront, le rideau se lèvera et l’Égypte antique s’animera au son de la majestueuse Aida de Giuseppe Verdi.

Créée en 1871 à l’Opéra Khédival, Aida est l’opéra grandiose par excellence : monumentale, éblouissante, avec ses chœurs imposants et ses ballets somptueux, et pourtant profondément intime. Au milieu de la gloire militaire et de la splendeur pharaonique se tisse une histoire d’amour impossible, de loyauté déchirée entre devoir et sentiments. Rares sont les œuvres qui ont su unir le spectaculaire et l’humain avec une telle perfection.

Et le Met en est conscient. C’est pourquoi l’une de ses productions les plus fastueuses fait son grand retour, avec des costumes qui évoquent l’âge d’or d’Hollywood – comme si nous assistions à l’entrée triomphale de Cléopâtre dans le style d’Elizabeth Taylor. Ce sera une expérience visuelle et musicale à couper le souffle.

Trois Aida… trois rêves

La grandeur de cette saison se concentre en un détail merveilleux : trois sopranos extraordinaires incarnent la princesse éthiopienne !

🌟 Angel Blue

La première, le 9 mars 2027, sera la sienne. Née à Los Angeles et lauréate d’un Grammy Award, Angel Blue possède un timbre velouté et lumineux, une tessiture et une noblesse vocales qui ont conduit beaucoup à la considérer comme la digne héritière de Leontyne Price au XXIe siècle. Son Aida promet d’être majestueuse et profondément humaine : une reine sur scène et, en même temps, une femme vulnérable déchirée par l’amour. Mars sera son mois, et New York s’en souviendra.

🌟 Anna Pirozzi

En avril, l’intensité dramatique prendra une nouvelle dimension avec Anna Pirozzi. Dotée d’une voix puissante, incisive et électrisante, la soprano italienne apporte une force tragique qui transforme chaque phrase en une déclaration enflammée. Son interprétation d'Aida sera passionnée, presque volcanique, avec des aigus brillants qui transperceront la salle comme des lances de feu. Une performance qui promet d'être époustouflante.

🌟 Leah Hawkins

L'Aida de la fin du printemps et du début de l'été sera interprétée par Leah Hawkins, native de Philadelphie. Élégante, d'une grande musicalité et dotée d'un phrasé exquis, sa voix allie lyrisme et ampleur à une sensibilité profondément émouvante. Son approche du personnage promet d'être introspective et raffinée, mettant en lumière la dimension la plus poétique et spirituelle de la princesse éthiopienne. Une Aida onirique pour clore la série en beauté.

Trois visions distinctes. Trois personnalités vocales. Trois raisons irrésistibles d'y assister… toutes !

Distribution 

Direction musicale

Daniele Callegari

Marco Armiliato

John Keenan

Aida

Angel Blue

Anna Pirozzi

Leah Hawkins

Amneris

Judit Kutasi

Olesya Petrova

Radamès

Michael Fabiano

SeokJong Baek

Amonasro

Quinn Kelsey

George Gagnidze

Michael Chioldi

Ramfis

Alexander Köpeczi

Soloman Howard

Le Roi

Huanhong Li

Harold Wilson

Krzysztof Bączyk

Le 9 mars 2027 marquera le début d'une série qui s'annonce historique. New York sera au rendez-vous. Le public du Met, toujours exigeant et passionné, sera captivé par la magnificence de cette production et la pléiade d'artistes qui lui donneront vie.

Et vous l'avez parfaitement dit : le seul dilemme sera de choisir quelle version d'Aida écouter… même si, à vrai dire, le mieux serait de les écouter toutes les trois. Car chacune révélera une facette différente de cette œuvre immortelle, et chaque interprétation sera unique.

Barcelona La forza del destino 9 / 19 Nov 2024 / 2025

The 2024/2025 season has already been revealed, we are delighted with the proposals, in my case, I couldn't be happier since I love everything that has been scheduled. Let's not forget that the theater has on its program these next few days and weeks, the operas la cenerentola by rossini, fidelio by beethoven, Adriana Lecouvreur by Cilèa, Roberto Alagna, Alesandra Kurzak return to liceu, what a thrill to see an opera with these two stars, I won't miss it. We also have Sonya Yoncheva , I won't miss it, and many more fabulous singers in a divine production not to be missed. And none other than the Valkyrie concert with Lise Davidsen, I think there are no more tickets left, You would have to consult with the theater, but it is logical that they have sold out, because it is going to be memorable, I would say that June 27 will be the day on which one should be there, Lise Davidsen, the best Wagnerian voice. The season will begin with Lady Macbeth of Mtsensk, it was already given at the liceu years ago, I myself enjoyed this opera a lot, because I really like Sostakovich, although I prefer his ballet suites, in any case, this opera will be quite a show. Next comes Verdi's famous opera, La Forza del Destino, a production that premiered in Paris, and then came to Barcelona in 2012, it was a great success, many performances were scheduled, and I attended all the performances, and it was a great success, I remember that the choir was reinforced with the Girona choir, this time the beautiful Parisian production is repeated, so we will be there, none other than the fabulous Saioa Hernandez will sing, a wonderful soprano, an extraordinary voice, who I think, I'm not sure, that she has also sung the role of Leonora, I would say yes, in any case I have heard her in many Verdi roles, and it is a sensation, the great success obtained recently in a ballo in maschera demonstrates, or hers great success years ago at La Scala when she sang at the opening of the season at the Attila, caused a sensation. Her Gioconda is wonderful ,what a great Gioconda, in short, we are facing one of the best voices of the 21st century, so a wonderful force of destiny awaits us. Anna Pirozzi will sing the première of La forza del destino next 9th November and three more performances ,she got a great triumph in Paris Bastille in this role and she is going to be a wonderful Leonora in Barcelona , we can wait to listen her divine voice singing la vergine degli angeli and pace pace mio Dio ,the two most beautiful arias of the opera .Don Alvaro will be sung by the fabulous Italian tenor Francesco Pio Galasso who precisely sang Don Alvaro in the successful performances last February and March in Palma de Mallorca, so a sensational Don Alvaro awaits us, and  his wife sings as Leonora ,at the same performance !!! 😊👍I remember the same happened when the remembered Daniela Dessi and her husband were together at the same time in Montecarlo in la forza del destino ,it was magic , so these future performances will be a performance not to be missed, plus added emotion with real life husband and wife .

The North American Brian Jadge will come from New York, the city of his birth, to offer us his Don Alvaro. This tenor has already sung this role in London and New York, and he is an expert tenor and specially in laforzadeldestino that he knows so well ,Furthermore, his voice is very beautiful as his interpretation of the unhappy Don Alvaro ,so it will be wonderful to attend his performances with the Italian super star Anna Pirozzi . The truth is that these performances of the force of destiny attract me for two reasons: the opera itself, which is wonderful, and listening to these fabulous singers live in these roles. We will also have Don Carlo di Vargas in Artur Rucinski 👍✨💯who has obtained a great success in London in Lucia di Lammermoor and he will be a sensational Don Carlo di vargas in his duets that Verdi wrote with so much care and inspiration to be sung with the tenor, he will make those fabulous duets, which Curiously, there are several in this opera, for the two of them, Brian Jagde.They will sing together as Don Alvaro and Don Carlo . I would almost say that the baritone sings more with the tenor than with the soprano 😉. Only Verdi could create such an opera, only him ,such a masterpiece . Amartuvshin Enkhbat will sing the duets with Francesco Pio Galasso, the singers will leave the Liceu hall astonished, since Galasso's beautiful and expressive tenor voice plus that of this baritone who I have been told is magnificent, can give a memorable night of baryton tenor duets , I really think it is going to be a good verdian opera evenings kind of a verdian voices festival ,can't wait to see them all ,I have tickets for both castings . The Guardian father will be John Relyea and Giacomo Prestia. Preziosilla Szilvia Vörös and Vasilisa Berzhanskaya. The conductor of the orchestra will be the prestigious Italian Nicola Luisotti that got a great success in Madrid with Adriana Lecouvreur. Madama Butterfly will be given in December, also a unique performance of Die Fledermaus. La traviata returns to the liceu in January, the international super star Nadine Sierra will be Violetta. She will sing La Sonnambula by Bellini in April and May. So we're very lucky to have this unique and so beautiful voice twice in one season . Rusalka will be given in June and July. I think West Side Story will make its debut in this theater and it will be with Nadine Sierra and Juan Diego Flórez, Isabel Leonard will also come, which I think is her debut at the liceu, performances that should not be missed. 

La stagione 2024/2025 è già stata svelata, siamo contentissimi delle proposte, nel mio caso non potrei essere più felice perché amo tutto ciò che è stato programmato. Non dimentichiamo che il teatro ha in cartellone in questi giorni e settimane, le opere la cenerentola di rossini, fidelio di beethoven, Adriana Lecouvreur di Cilèa,Roberto Alagna, Alesandra Kurzak tornano al liceo, che emozione vedere un'opera con queste due star, non me la perdo. Abbiamo anche Sonya Yoncheva , non me la perderò, e tanti altri cantanti favolosi in una produzione divina da non perdere.e niente meno che il concerto delle Valchirie con Lise Davidsen, credo non ce ne siano altri biglietti rimasti, bisognerebbe consultare il teatro, ma è logico che siano esauriti, perché sarà memorabile, direi che il 27 giugno sarà il giorno in cui dovrebbe esserci una, Lise Davidsen, la migliore voce wagneriana. La stagione inizierà con Lady Macbeth di Mcensk, rappresentata anni fa al Liceu. A me quest'opera è piaciuta molto, perché mi piace molto Sostakovich, anche se preferisco le sue suite per balletto. In ogni caso, quest'opera sarà uno spettacolo . Poi arriva la famosa opera di Verdi, La Forza del Destino, una produzione che ha debuttato a Parigi, poi è arrivata a Barcellona nel 2012, è stato un grande successo, erano previste molte rappresentazioni e io ho assistito a tutte le rappresentazioni, ed è stato un grande successo , Ricordo che il coro si è rinforzato con il coro di Girona, questa volta si ripete la bellissima produzione parigina, quindi noi ci saremo, canterà niente meno che la favolosa Saioa Hernandez, un soprano meraviglioso, una voce straordinaria, che secondo me, Non sono sicuro che abbia cantato anche il ruolo di Leonora, direi di sì, comunque l'ho sentita in tanti ruoli verdiani, ed è una sensazione, lo dimostra il grande successo ottenuto recentemente in un ballo in maschera , o il suo grande successo anni fa alla Scala quando cantò in apertura di stagione all'Attila, fece scalpore. La sua Monna Lisa è meravigliosa, insomma siamo di fronte ad una delle migliori voci del 21° secolo, quindi ci aspetta una meravigliosa forza del destino. Anna Pirozzi aprirà questa serie di otto rappresentazioni offrendo la sua meravigliosa Leonora ,la prima sera sarà il nove novembre alle 19:30. Don Alvaro sarà cantato dal favoloso tenore italiano Francesco Pio Galasso che proprio ha cantato Don Alvaro nelle fortunate rappresentazioni dello scorso febbraio e marzo a Palma di Maiorca, quindi ci aspetta un Don Alvaro sensazionale, e se canta anche sua moglie, sarà un spettacolo da non perdere, con in più un'emozione in più. Il nordamericano Brian Jadge arriverà da New York, sua città natale, per proporci il suo Don Alvaro. Questo tenore ha già cantato questo ruolo a Londra e New York, ed è un esperto, inoltre la sua voce è molto bella, quindi sarà meraviglioso assistere alle sue esibizioni con Maria Agresta. La verità è che queste rappresentazioni della forza del destino mi attraggono per due motivi: l'opera in sé, che è meravigliosa, e ascoltare questi favolosi cantanti dal vivo in questi ruoli. Avremo anche il Don Carlo di Vargas in Artur Rucinski che sta avendo grande successo a Londra nella Lucia di Lammermoor e sarà un Don Carlo strepitoso nei suoi duetti che Verdi scrisse con tanto amore per essere cantati col tenore, farà quei duetti favolosi, che curiosamente ce ne sono diversi in quest'opera, per loro due, Brian Jagde. Direi quasi che il baritono canta più con il tenore che con il soprano. Solo Verdi poteva creare un'opera del genere. Amartuvshin Enkhbat canterà i duetti con Francesco Pio Galasso, i cantanti lasceranno stupiti la sala del Liceu, poiché la bella voce tenorile di Galasso più quella di questo baritono che mi dicono sia magnifica, possono regalare una serata memorabile. Il padre del Guardian sarà John Relyea e Giacomo Prestia. Preziosilla Szilvia Vörös e Vasilisa Berzhanskaya. Il direttore d'orchestra sarà il prestigioso italiano Nicola Luisotti. A dicembre ci sarà Madama Butterfly, anche un'esecuzione unica di Die Fledermaus, la traviata tornerà al liceo a gennaio, la super star internazionale Nadine Sierra canterà la Sonnambula ad aprile e maggio. Rusalka sarà data a giugno e luglio. Penso che West Side Story farà il suo debutto in questo teatro e sarà con Nadine Sierra e Juan Diego Flórez, verrà anche Isabel Leonard, che credo sia il suo debutto al liceu, spettacoli da non perdere.  

La saison 2024/2025 a déjà été dévoilée, nous sommes ravis des propositions, dans mon cas, je ne pourrais pas être plus heureux puisque j'adore tout ce qui est programmé. N'oublions pas que le théâtre a au programme ces prochains jours et semaines, les opéras la cenerentola de Rossini, fidelio de Beethoven, Adriana Lecouvreur de Cilèa Roberto Alagna et Alesandra Kurzak retournent au liceu, quel plaisir de voir un opéra avec ces deux stars, je ne le manquerai pas. Nous avons également Sonya Yoncheva et bien d'autres chanteurs et chanteuses fabuleuses dans une production divine à ne pas manquer., et nul autre que le concert Valkyrie avec Lise Davidsen, je pense qu'il n'y en a plus il reste des billets, il faudrait consulter le théâtre, mais c'est logique qu'ils soient complets, parce que ça va être mémorable, je dirais que le 27 juin sera le jour où il faut y être, Lise Davidsen, la meilleure voix wagnérienne. La saison débutera avec Lady Macbeth de Mtsensk, qui a été jouée au Liceu il y a des années. J'ai moi-même beaucoup apprécié cet opéra, car j'aime beaucoup Sostakovitch, même si je préfère ses suites de ballet. En tout cas, cet opéra sera tout un spectacle. . Vient ensuite le célèbre opéra de Verdi, La Forza del Destino, une production qui a été créée à Paris, puis à Barcelone en 2012, ce fut un grand succès, de nombreuses représentations étaient programmées, et j'ai assisté à toutes les représentations, et ce fut un grand succès. , je me souviens que la chorale a été renforcée par la chorale de Gérone, cette fois la belle production parisienne est répétée, donc nous serons là, nul autre que la fabuleuse Saioa Hernández chantera, une merveilleuse soprano, une voix extraordinaire, qui je pense, Je ne suis pas sûr qu'elle ait aussi chanté le rôle de Leonora, je dirais oui, en tout cas je l'ai entendue dans de nombreux rôles de Verdi, et c'est une sensation, le grand succès obtenu récemment dans un ballo in maschera le démontre , ou son grand succès il y a des années à La Scala lorsqu'il chantait à l'ouverture de la saison à l'Attila, ont fait sensation. Sa Joconde est merveilleuse, bref, nous sommes face à l'une des meilleures voix du 21ème siècle, donc une merveilleuse force du destin nous attend. Anna Pirozzi ouvre la série de huit représentations le neuf novembre le jour de la première la fabuleuse chanteuse va nous donner une représentation de luxe avec sa leonore merveilleuse ,la voix de cette soprano est très belle et fabuleuse ,j'adore . Don Alvaro sera chanté par le fabuleux ténor italien Francesco Pio Galasso qui a précisément chanté Don Alvaro lors des représentations à succès de février et mars derniers à Palma de Majorque, donc un Don Alvaro sensationnel nous attend, et si sa femme chante aussi, ce sera un une performance à ne pas manquer, avec en prime de l'émotion. Le Nord-Américain Brian Jadge viendra de New York, sa ville natale, nous offrir son Don Alvaro. Ce ténor a déjà chanté ce rôle à Londres et à New York, et c'est un expert. De plus, sa voix est très belle, ce sera donc merveilleux d'assister à ses performances avec Maria Agresta. La vérité est que ces représentations de la force du destin m'attirent pour deux raisons : l'opéra lui-même, qui est merveilleux, et l'écoute en direct de ces fabuleux chanteurs dans ces rôles. Nous aurons également Don Carlo di Vargas dans Artur Rucinski qui connaît un grand succès à Londres dans Lucia di Lammermoor et il sera un Don Carlo sensationnel dans ses duos que Verdi a écrit avec tant d'amour pour être chanté avec le ténor, il fera ces duos fabuleux, dont Curieusement il y en a plusieurs dans cet opéra, pour eux deux, Brian Jagde. Je dirais presque que le baryton chante plus avec le ténor qu'avec la soprano. Seul Verdi pouvait créer un tel opéra. Amartuvshin Enkhbat chantera les duos avec Francesco Pio Galasso, les chanteurs quitteront la salle du Liceu étonnés, car la belle voix de ténor de Galasso et celle de ce baryton qu'on m'a dit magnifique, peuvent donner une soirée mémorable. Le père Guardian sera John Relyea et Giacomo Prestia. Preziosilla Szilvia Vörös et Vasilisa Berjanskaya. Le chef d'orchestre sera le prestigieux italien Nicola Luisotti. Madama Butterfly sera donnée en décembre, également une représentation unique de Die Fledermaus, la traviata revient au lycée en janvier  la célèbre star internationale et une des meilleures sopranos au monde Nadine Sierra chantera aussi la Sonnambula en avril et mai. nous sommes fortunés de la pouvoir écouter dans ces deux chefs-d'œuvre .Rusalka sera donnée en juin et juillet. Je pense que West Side Story fera ses débuts dans ce théâtre et ce sera avec Nadine Sierra et Juan Diego Flórez, Isabel Leonard viendra aussi, ce qui, je pense, est ses débuts au Liceu, des performances à ne pas manquer. le Lac des Cygnes du ballet de Rome arrive bientôt 😉👍