Bologna - Cavalleria Rusticana - 21 / 29 Mar 2026

Shaftesbury Theatre  - London -  19 October 1891 

Few operas in history owe their existence so vividly to chance, urgency, and youthful daring as Cavalleria Rusticana. Its genesis reads almost like a verismo drama in itself: a young, relatively unknown composer, Pietro Mascagni, racing against time to submit his score to a competition organized by the Milanese publisher Casa Sonzogno. The contest sought new one-act operas, and no fewer than seventy-three entries were submitted. Mascagni, working under pressure and with little expectation of success, reportedly delivered his manuscript at the very last moment—just before the deadline expired.

That last-minute gamble would become one of the most legendary success stories in operatic history. Not only did Mascagni’s work place among the winners, it quickly emerged as the undeniable triumph of the competition. When Cavalleria Rusticana premiered in Rome in 1890, the reaction was nothing short of sensational. The audience demanded encore after encore, and Mascagni was called back to the stage dozens of times—an astonishing testament to the immediate emotional impact of the work. Its raw realism, drawn from a Sicilian tale by Giovanni Verga, and its searing musical language marked the birth of operatic verismo as a dominant force.

From that moment, the opera spread like wildfire across Europe and beyond: Berlin, Vienna, Paris, New York, Buenos Aires—every major cultural capital embraced it. Yet one of its most fascinating chapters unfolded in London, where it became not just a success, but a theatrical and cultural battleground.

The British premiere took place on 19 October 1891 at what was then known as the Royal English Opera House, today the Shaftesbury Theatre. This was no ordinary venue choice. The production was driven by the bold impresario Signor Lago, who sought to challenge the dominance of Royal Opera House. At the time, Covent Garden represented tradition, prestige, and a certain conservatism in programming. Lago, by contrast, seized the opportunity to present Mascagni’s electrifying new work in a modern, ambitious theatre eager to make its mark.

The result was extraordinary. Cavalleria Rusticana became an overnight sensation in London, drawing packed houses and generating a level of excitement that rivaled—and in some respects eclipsed—the offerings at Covent Garden. Performances were frequent, sometimes nearly daily, and audiences were captivated by the opera’s emotional directness and dramatic intensity. For a time, the Shaftesbury Theatre stood at the very center of London’s operatic life, a symbol of innovation challenging establishment tradition.

This moment also reflects the broader evolution of London’s theatrical culture. The theatre itself, later known simply as the Shaftesbury Theatre, would go on to host an extraordinary range of performances, eventually welcoming legendary artists such as Margot Fonteyn and Moira Shearer. Though its repertoire shifted over time—from opera to ballet to musical theatre—the building retained the aura of a place where artistic risks could redefine the cultural landscape.

Meanwhile, Covent Garden would eventually embrace Mascagni’s masterpiece as well, incorporating it into its repertoire and pairing it frequently with Pagliacci. But the initial triumph belonged unmistakably to the “outsider” venue that dared to act first.

What makes this story so compelling is the convergence of elements: a young composer’s last-minute submission, a competition that changed operatic history, and a theatrical rivalry that brought a revolutionary work to the forefront of London society. From its precarious beginnings to its global domination, Cavalleria Rusticana remains a testament to how inspiration, opportunity, and bold decision-making can transform not only a career, but an entire art form.

La nuova produzione di Cavalleria Rusticana al Comunale Nouveau si preannuncia come uno degli appuntamenti più affascinanti della stagione lirica bolognese. In attesa della riapertura dello storico Teatro Comunale di Bologna, questa sede temporanea accoglie un allestimento di grande respiro artistico, capace di coniugare tradizione e intensità drammatica.

Le rappresentazioni sono previste nelle seguenti date: il 21° marzo alle ore 20:00 (prima), il 22 marzo alle ore 16:00, il 25 marzo alle ore 20:00, il 26 marzo alle ore 18:00, il 28 marzo alle ore 18:00 e il 29 marzo alle ore 16:00. Un calendario ricco che permetterà al pubblico di immergersi più volte nella forza travolgente del capolavoro verista di Pietro Mascagni.

Sul podio troviamo il maestro Daniel Oren, interprete di straordinaria esperienza nel repertorio italiano, mentre la regia è affidata alla visione intensa e teatrale di Emma Dante. L’allestimento, firmato dal Teatro Comunale di Bologna, si avvale delle scene di Carmine Maringola, dei costumi di Vanessa Sannino, delle luci di Cristian Zucaro e delle coreografie di Manuela Lo Sicco, con la ripresa registica curata da Federico Gagliardi. Il coro è preparato da Giovanni Farina, elemento fondamentale per restituire tutta la forza corale dell’opera.

Il cast riunisce interpreti di altissimo livello. Nel ruolo di Turiddu si alterneranno Roberto Aronica e Francesco Pio Galasso, quest’ultimo particolarmente atteso dopo il grande successo ottenuto a Barcellona, al celebre Gran Teatre del Liceu, dove ha conquistato il pubblico con un memorabile Don Alvaro ne La forza del destino. Il suo Turiddu si preannuncia intenso, appassionato, capace di fondere slancio lirico e accento drammatico in una linea vocale di grande bellezza.

Accanto a lui, nel ruolo di Santuzza, troviamo la straordinaria Saioa Hernández, autentica stella del panorama operistico internazionale. La soprano madrilena ha recentemente trionfato al Liceu di Barcellona con una sensazionale interpretazione de La Gioconda, imponendosi come una delle voci più autorevoli del repertorio drammatico. A Bologna darà vita a una Santuzza intensa e lacerante, capace di restituire tutta la complessità emotiva del personaggio. Il ruolo sarà alternato con la raffinata Martina Belli, artista di grande sensibilità interpretativa.

Completano il cast Roman Burdenko nel ruolo di Alfio, Nino Chikovani come Lola, ed Elena Zilio nel ruolo di Mamma Lucia. Le parti minori vedono l’alternanza tra Fogel Fanny Eszter e Martina Rinaldi.

La serata è arricchita anche dalla proiezione di Rapsodia Satanica, con direzione musicale di Carmine Pinto e regia di Nino Oxilia, creando un suggestivo dialogo tra musica, cinema e teatro.

Tutto lascia presagire una serie di rappresentazioni di altissimo livello, dove la potenza della partitura mascagnana si unirà a un cast vocale di prim’ordine. Un’occasione imperdibile per vivere l’opera nella sua forma più autentica: una perfetta ragione per lasciarsi conquistare da Bologna e dalla sua grande tradizione musicale.

Berlin - Norma - Saioa Hernández - 2027

The announcement of Norma at the illustrious Staatsoper Unter den Linden in Berlin for April 2027 has stirred a remarkable wave of anticipation across the international operatic world. Yet beyond the simple return of one of Vincenzo Bellini’s most sublime masterpieces to the stage, what truly elevates this announcement into a major artistic event is the presence of a singular artist at its center: the Spanish soprano Saioa Hernández.

In recent years Hernández has emerged not merely as a celebrated singer but as one of the defining operatic personalities of her generation. The transformation from admired dramatic soprano to international superstar has occurred with extraordinary momentum, fueled by a series of triumphant performances in some of the most demanding roles of the repertoire. Among these achievements, her recent success in La Gioconda has particularly captivated audiences and critics alike. Many observers have begun to speak of her as the Gioconda of the 21st century, an artist capable of combining vocal grandeur with a deeply compelling dramatic presence.

It is precisely this rare union of vocal beauty, technical mastery, and theatrical intensity that now makes her Norma in Berlin such a highly anticipated event.

The rise of a modern operatic star

Saioa Hernández’s artistic journey has been guided by remarkable musical influences. Her studies with legendary artists such as Renata Scotto and Montserrat Caballé helped shape a vocal technique rooted in the great Italian tradition of singing. These formative experiences gave her not only technical discipline but also a profound understanding of phrasing, breath control, and musical expression.

From the beginning of her career, Hernández demonstrated a voice of unusual amplitude and character. The rich middle register, the gleaming upper notes, and the emotional immediacy of her interpretation quickly distinguished her from many of her contemporaries. Her breakthrough moment arrived with her debut at Teatro alla Scala in Milan, where she appeared as Odabella in Attila by Giuseppe Verdi under the direction of Riccardo Chailly. That evening introduced her to the global operatic stage and marked the beginning of a remarkable international career.

Since then she has appeared in many of the world’s leading houses, including the Royal Opera House in London, the Gran Teatre del Liceu in Barcelona, the Semperoper Dresden, the Arena di Verona, and many others across Europe, Asia, and the Americas. In each of these theaters she has brought a powerful vocal personality capable of filling large spaces with ease while maintaining expressive refinement.

A voice that evokes great traditions

Opera lovers often search for comparisons when encountering a voice of unusual distinction. In Hernández’s case, listeners frequently recall the luminous elegance of Montserrat Caballé or the noble vocal authority associated with Renata Tebaldi. Such comparisons arise naturally when a singer combines expansive vocal projection with lyrical sensitivity.

Yet Hernández remains unmistakably herself. Her voice carries a dramatic urgency and emotional sincerity that belong uniquely to her artistic identity. She is not only a singer of remarkable vocal resources but also an actress capable of inhabiting the psychological depths of her characters. On stage she possesses an instinctive sense of theatrical truth, allowing the audience to experience each moment of the drama with vivid immediacy.

For this reason, a performance of Norma with Saioa Hernández is never simply a vocal display—it becomes a full artistic experience.

Norma: the ultimate test of artistry

Bellini’s Norma occupies a special place within the soprano repertoire. Few roles demand such a complete synthesis of vocal technique, expressive subtlety, and dramatic authority. The character moves between moments of spiritual serenity, maternal tenderness, political leadership, and tragic despair.

To embody Norma convincingly requires not only vocal power but also the ability to sustain Bellini’s long melodic lines with grace and control. Hernández’s mastery of breath and phrasing allows these lines to unfold naturally, giving the music its characteristic sense of suspended beauty.

When she sings the famous invocation “Casta Diva,” the atmosphere often seems to change entirely. The voice becomes luminous and contemplative, floating above the orchestra with serene poise. Yet later, in the opera’s intense confrontations, the same voice acquires an almost elemental dramatic force. This dynamic contrast is precisely what makes Hernández’s interpretation so compelling.

The voices surrounding the heroine

Although Norma stands at the center of the opera, the success of any performance also depends on the strength of the surrounding cast. Bellini’s score creates intricate relationships between the principal characters, and each voice contributes essential colors to the musical tapestry.

The tenor portraying Pollione must bring both heroic brilliance and lyrical warmth, creating a dramatic counterpart to Norma’s authority. His vocal presence introduces tension and passion into the unfolding drama, and the interplay between soprano and tenor forms one of the emotional pillars of the work.

Equally significant is the role of Adalgisa, whose youthful sincerity and expressive warmth contrast with Norma’s tragic complexity. The duets between the two women are among the most sublime pages in all of bel canto, moments where voices intertwine in lines of extraordinary beauty.

The bass role of Oroveso adds a solemn dimension to the drama, grounding the story within a ritualistic and almost sacred atmosphere. When these voices unite within Bellini’s ensembles, the result can be profoundly moving.

A magnificent orchestra

Supporting these singers is the remarkable orchestra of the Staatsoper Unter den Linden, one of the most distinguished musical ensembles in the world. Known for its extraordinary versatility, the orchestra performs repertoire ranging from baroque masterpieces to the most complex symphonic works of the nineteenth and twentieth centuries.

This immense stylistic breadth has shaped the ensemble into one of the most experienced orchestras on the planet. The warmth of the strings, the lyrical clarity of the woodwinds, and the disciplined brilliance of the brass combine to create a sound that is both refined and expressive. In the Italian repertoire, the orchestra displays a remarkable sensitivity to the breathing and phrasing of singers—a quality that is indispensable in bel canto.

Giuseppe Mentuccia: a conductor devoted to singers

At the podium will stand the Italian conductor Giuseppe Mentuccia, a musician whose career has brought him to many of the world’s great stages, including the Metropolitan Opera in New York, the Vienna State Opera, the Berlin Philharmonie, and the Accademia Nazionale di Santa Cecilia.

Mentuccia has collaborated with legendary conductors such as Daniel Barenboim, James Levine, Zubin Mehta, Simon Rattle, Iván Fischer, Christian Thielemann, Kirill Petrenko, and Myung-Whun Chung, experiences that have shaped his artistic perspective and deepened his understanding of orchestral and operatic balance.

From 2018 until early 2023 he served as musical assistant to Daniel Barenboim at the Staatsoper Unter den Linden, gaining intimate familiarity with the theater’s orchestra and musical traditions. His conducting style is widely admired for its attentiveness to singers. Rather than dominating the musical texture, he shapes the orchestral sound in a way that allows voices to bloom naturally within Bellini’s lyrical architecture.

Such sensitivity is invaluable in Norma, where the delicate relationship between orchestra and voice determines the emotional impact of the music.

Evenings destined to be unforgettable

All the elements therefore appear perfectly aligned for a series of remarkable evenings in Berlin: a world-class orchestra, a conductor deeply attentive to vocal artistry, and above all the presence of one of the great sopranos of our time.

For many listeners, Saioa Hernández has become one of the defining operatic voices of the early twenty-first century—a singer whose performances combine vocal magnificence with dramatic authenticity. To hear her interpret Norma is not simply to attend an opera performance; it is to witness the unfolding of a complete artistic vision.

As the dates of April 2027 draw closer, anticipation continues to grow among opera lovers around the world. Fans are already imagining the moment when the lights dim, the orchestra begins Bellini’s ethereal introduction, and Saioa Hernández steps onto the stage to embody the tragic priestess.

Those evenings promise something rare and precious: a meeting between a timeless masterpiece and an artist whose voice and presence can transform it into an unforgettable experience.

Berlin waits, with impatience and admiration, for those nights when Bellini’s celestial music will rise once more—and when Saioa Hernández will stand at its radiant center

 L’annonce des représentations de Norma de Vincenzo Bellini au prestigieux Staatsoper Unter den Linden de Berlin au printemps 2027 a suscité une attente immense dans le monde lyrique. Pour les amateurs de bel canto, ces soirées promettent avant tout un événement musical de grande portée : la rencontre entre une partition parmi les plus sublimes du romantisme italien et une distribution vocale capable d’en révéler toutes les nuances.

Au centre de cette constellation de voix se trouve la soprano espagnole Saioa Hernández, qui incarnera la prêtresse druidique lors de plusieurs représentations très attendues en avril 2027. Son retour dans ce rôle mythique est suivi avec une attention particulière par ses admirateurs venus de toute l’Europe, mais aussi d’Amérique et d’Asie. Depuis plusieurs années déjà, Hernández s’est imposée comme l’une des grandes voix dramatiques de notre époque, et son approche de Norma a suscité l’enthousiasme dans de nombreux théâtres internationaux.

La voix de Saioa Hernández possède cette combinaison rare de puissance et de noblesse qui convient idéalement à l’écriture de Bellini. Large, lumineuse, solidement ancrée dans un registre central riche et chaleureux, elle s’élève avec aisance dans les lignes mélodiques longues et suspendues qui caractérisent l’art du compositeur. Beaucoup d’auditeurs évoquent, en l’écoutant, le souvenir de grandes traditions vocales : certains perçoivent dans son timbre une noblesse rappelant Montserrat Caballé, notamment dans la manière de soutenir le souffle et de modeler les phrases avec une élégance souveraine.

Dans Norma, cette qualité est essentielle. Bellini exige de la soprano non seulement une maîtrise technique absolue, mais aussi une capacité à transmettre une dimension presque spirituelle dans la ligne de chant. La célèbre prière « Casta Diva » demande une pureté de son et un contrôle du souffle extraordinaires, tandis que les confrontations dramatiques du deuxième acte réclament une intensité presque héroïque. Hernández possède précisément cette double nature vocale : la douceur méditative et la force tragique.

Autour d’elle se réunira une distribution soigneusement choisie pour servir au mieux la musique de Bellini. Le rôle de Pollione, écrit pour un ténor capable d’allier éclat et lyrisme, apportera l’énergie dramatique nécessaire à l’équilibre de l’ouvrage. La partie d’Adalgisa, souvent confiée à une mezzo-soprano ou à un soprano lyrique au timbre velouté, constituera l’un des pôles émotionnels les plus touchants de la partition, notamment dans les duos avec Norma, qui comptent parmi les pages les plus émouvantes du bel canto. Enfin, la figure d’Oroveso, avec sa voix grave et solennelle, apportera la dimension rituelle et majestueuse qui encadre l’action.

Mais l’un des véritables trésors de ces soirées sera sans doute l’orchestre de la Staatsoper Unter den Linden. Cette formation, héritière d’une tradition musicale berlinoise d’une richesse exceptionnelle, est reconnue pour la qualité de ses cordes soyeuses, la précision de ses bois et la noblesse de ses cuivres. Dans le répertoire italien, l’orchestre sait se faire à la fois délicat et expressif, soutenant les chanteurs sans jamais alourdir la texture sonore.

Sous la direction du chef d’orchestre chargé de ces représentations, la partition de Bellini pourra respirer avec toute sa poésie. Le rôle du chef dans Norma est fondamental : il doit maintenir l’équilibre entre la ligne vocale et l’architecture orchestrale, permettant aux chanteurs de déployer leurs phrases tout en conservant la tension dramatique de l’œuvre. Un grand chef sait donner à cette musique son mouvement naturel, presque organique, où chaque crescendo semble naître du silence et chaque cadence se dissoudre dans une atmosphère de mystère.

Dans ce cadre idéal, la rencontre entre la voix de Saioa Hernández et l’orchestre berlinois promet d’être particulièrement fascinante. Les longues lignes de Bellini pourront s’épanouir pleinement, soutenues par un tapis orchestral d’une finesse remarquable. La tradition musicale de Berlin, souvent associée aux grands compositeurs germaniques, révèle dans ces moments toute sa sensibilité à l’élégance italienne.

Les dates annoncées — les 3, 9, 11 et 16 avril 2027 — sont déjà entourées d’une aura particulière. Pour les passionnés d’opéra, il ne s’agit pas seulement d’assister à une représentation, mais de vivre une expérience musicale où la beauté du chant et la profondeur de l’interprétation se rejoignent.

Ainsi, ces soirées de Norma à Berlin s’annoncent avant tout comme une célébration du chant. La musique de Bellini, portée par une distribution vocale inspirée et par l’orchestre splendide de la Staatsoper, trouvera dans ce théâtre historique un écrin idéal. Et au centre de cette célébration se tiendra Saioa Hernández, dont la voix généreuse et lumineuse continue de séduire un public toujours plus vaste.

Pour beaucoup d’auditeurs, ces représentations seront l’occasion rare d’entendre l’une des grandes sopranos de notre temps dans un rôle qui exige à la fois grandeur tragique et pure poésie. Une rencontre entre une artiste et une œuvre qui, dans l’acoustique noble de la Staatsoper Unter den Linden, promet de laisser un souvenir durable dans la mémoire des mélomanes.