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.

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. 

Madrid Teatro Real 2024/2025

Il Teatro Real di Madrid ha rivelato la sua programmazione per la prossima stagione 2024/2025. La programmazione è molto varia e super interessante, non posso dettagliare tutto perché ci vorrebbero ore, quindi vi incoraggio a visitare il sito del teatro, ma vorrei segnalarvi le mie opere e i miei balletti preferiti. Adriana Lecouvreur, che sarà presto vista al Liceu di Barcellona, ​​si svolgerà a settembre e ottobre di quest'anno 2024. Il prestigioso regista italiano che dirigerà La forza del destino di Verdi al liceo dirigerà l'opera di Cilea al Teatro Real. Ermonela Jaho, che mi stupì nell'Anna Bolena di Donizetti a Parigi qualche anno fa, canterà il ruolo principale alternandosi a Maria Agresta, due soprani favolosi e un'opera favolosa. Canterà il ruolo principale il newyorkese Brian Jadge alternato a Matthew Polenzani. La famosa cantante Elina Garança sarà la principessa di Bouillon in alcuni giorni di questi spettacoli. Sono anche molto entusiasta di assistere a Maria Stuarda diretta da José Miguel Pérez-Sierra, è una delle mie opere preferite e sono molto interessato a vedere la direzione di questo prestigioso regista. La famosa cantante Lisette Oropesa sarà María Stuarda in alcune recite, non mi perderò la sua interpretazione di questo ruolo. A maggio Verdi torna al Teatro Real con Attila Christian Van Horn protagonista e Odabella protagonista dell'opera Sondra Radvanovsky, sono due spettacoli unici da non perdere e da ripetere. La traviata si svolgerà nei mesi di giugno e luglio 2025. la celebre star Nadine Sierra sarà Violetta Valéry che si alternerà al soprano Adela Zaharia. Xabier Anduaga, Iván Ayón Rivas e il famoso tenore Juan Diego Flórez, quest'ultimo canterà il 14, 17 e 20 luglio con la star Nadine Sierra, tre giorni da scrivere sul mio diario. Verdi torna ancora il 6 e 9 luglio, in versione concerto verranno rappresentati I lombardi, un'opera che solitamente non è in cartellone per cui non me la perdo, e canterà uno dei miei soprani preferiti, Anna Pirozzi. Per quanto riguarda il balletto classico, presto potremo vedere la bayadère di Minkus, e nell'ottobre 2024 verrà rappresentato anche Il lago dei cigni dal balletto di San Francisco, che già era al liceo di Barcellona, ​​esattamente nel settembre 2001 sempre con Il lago dei cigni e ricordo che rimasi stupito dalla ballerina Lucia Lacarra e da tutto il teatro. È stata una performance memorabile. Questi spettacoli a Madrid saranno una grande opportunità per ascoltare l'orchestra principale del teatro reale eseguire questa meravigliosa partitura. La compagnia nazionale di danza darà il suo famoso Don Chisciotte che mi è piaciuto tanto a Barcellona, ​​e ci saranno cinque rappresentazioni che saranno un sicuro successo, è una versione favolosa, una delle mie preferite e non me la perderei, sarà nei mesi di febbraio e marzo 2025, un'altra occasione d'oro per vedere questa meravigliosa compagnia e anche per ascoltare la brillante musica di Minkus, l'orchestra principale del Teatro Reale sta diventando esperta di Minkus, ora con la bayadere e poi con Don Chisciotte, spettacoli favolosi che danno la possibilità di conoscere l'orchestra nelle sue interpretazioni della musica da balletto, un grande fortuna per chi assiste a queste rappresentazioni. L'orchestra ci proporrà anche la meravigliosa musica di Gustav Mahler in Concertante, balletto che il Balletto di Stato di Vienna ci proporrà nel maggio 2025. Voglio anche sottolineare che il 5 settembre la star dell'opera Anna Netrebko canterà accanto a Yusif Eyvazov, la diva dell'opera canterà scene di Turandot, La bohème, Manon Lescaut, Le villi e anche Madama Butterfly, il bellissimo duo, immagino questo è ciò che interpreteranno. Spero di poter andare quella sera a questo concerto unico e straordinario, l'orchestra e il coro insieme al baritono Jerome Boutillier e al soprano Daria Rybak si esibiranno accanto alle stelle dell'opera, in quella che si preannuncia la serata operistica del anno, uno di quei giorni che resteranno nella storia degli amanti dell'opera.

Anna Sobeshchánskaya as Odette in Swan Lake  ( 1877 )

The theater Teatro Real of Madrid has revealed its programming for the next 2024/2025 season. The programming is very varied and super interesting, I can't detail everything because it would take hours, so I encourage you to visit the theater's website, but I would like to highlight my favorite operas and ballets. Adriana Lecouvreur, which will soon be seen at the Liceu in Barcelona, will take place in September and October of this year 2024. The prestigious Italian director who will direct Verdi's force of destiny at the liceu will direct Cilea's opera at the Teatro Real. Ermonela Jaho, who amazed me in Donizetti's Anna Bolena in Paris a few years ago, will sing the main role alternating with Maria Agresta, two fabulous sopranos and a fabulous opera. New Yorker Brian Jadge will sing the lead role alternating with Matthew Polenzani. The famous singer Elina Garança will be the princess of Bouillon on some days of these performances. I am also very excited to attend Maria Stuarda directed by José Miguel Pérez-Sierra, it is one of my favorite operas and I am very interested in seeing the conducting of this prestigious director. The famous singer Lisette Oropesa will be María Stuarda in some performances, I will not miss her interpretation of this role. In May Verdi returns to the Teatro Real with Attila Christian Van Horn will be the protagonist and Odabella will be the star of the opera Sondra Radvanovsky, they are two unique performances not to be missed and repeated. The traviata will take place in June and July 2025. the famous star Nadine Sierra will be Violetta Valéry who will alternate with the soprano Adela Zaharia. Xabier Anduaga, Iván Ayón Rivas and the famous tenor Juan Diego Flórez, the latter will sing on July 14, 17 and 20 with the star Nadine Sierra, three days to write down in my diary. Verdi returns again on July 6 and 9, in a concert version I lombardi will be performed, an opera that is not usually scheduled so I won't miss it, and one of my favorite sopranos, Anna Pirozzi, will sing.Regarding classical ballet, we will soon be able to see Minkus' bayadère, and in October 2024 also Swan Lake will be performed by the San Francisco ballet, which was already at the Barcelona high school, exactly in September 2001 also with the Swan Lake and I remember that I was amazed by the dancer Lucia Lacarra and the entire theater. It was a memorable performance. These Madrid performances will be a great opportunity to hear the main orchestra of the royal theater performing this wonderful score. The national dance company will give its famous Don Quixote that I enjoyed so much in Barcelona, and there will be five performances that will be a sure success, it is a fabulous version, one of my favorites and I would not miss it, it will be in February and March 2025, another opportunity of gold to see this wonderful company and also to listen to the brilliant music of Minkus, the main orchestra of the Royal Theater is becoming an expert in Minkus, now with the bayadere and later with Don Quixote, fabulous performances that give the opportunity to know to the orchestra in its interpretations of ballet music, a great luck for those attending these performances. The orchestra will also offer us the wonderful music of Gustav Mahler in Concertante, a ballet that the Vienna State Ballet will offer us in May 2025. I also want to highlight on September 5 that the opera star, Anna Netrebko, will sing alongside Yusif Eyvazov, the opera diva will sing scenes from Turandot, La bohème, Manon Lescaut, Le villi and also Madama Butterfly, the beautiful duo, I imagine that is what they will interpret. I hope to be able to go that night to this unique and extraordinary concert, the orchestra and choir together with the baritone Jerome Boutillier and the soprano Daria Rybak will perform alongside the stars of the opera, in what promises to be the operatic evening of the year, one of those days that go down in the history of opera lovers.

Marius Petipa 

Le théâtre Teatro Real de Madrid a dévoilé sa programmation pour la prochaine saison 2024/2025. La programmation est très variée et super intéressante, je ne peux pas tout détailler car cela prendrait des heures, je vous encourage donc à visiter le site du théâtre, mais j'aimerais mettre en avant mes opéras et ballets préférés. Adriana Lecouvreur, que l'on verra bientôt au Liceu de Barcelone, aura lieu en septembre et octobre de cette année 2024. Le prestigieux metteur en scène italien qui dirigera la force du destin de Verdi au Liceu dirigera l'opéra de Cilea au Teatro Real. Ermonela Jaho, qui m'a émerveillé dans Anna Bolena de Donizetti à Paris il y a quelques années, chantera le rôle principal en alternance avec Maria Agresta, deux fabuleuses sopranos et un fabuleux opéra. Le New-Yorkais Brian Jadge chantera le rôle principal en alternance avec Matthew Polenzani. La célèbre chanteuse Elina Garança sera la princesse de Bouillon certains jours de ces représentations. Je suis également très excité d'assister à Maria Stuarda mise en scène par José Miguel Pérez-Sierra, c'est l'un de mes opéras préférés et je suis très intéressé de voir la direction de ce prestigieux metteur en scène. La célèbre chanteuse Lisette Oropesa sera María Stuarda dans certaines représentations, je ne manquerai pas son interprétation de ce rôle. En mai, Verdi revient au Teatro Real avec Attila Christian Van Horn comme protagoniste et Odabella comme vedette de l'opéra Sondra Radvanovsky, ce sont deux représentations uniques à ne pas manquer et à répéter. La traviata aura lieu en juin et juillet 2025. la célèbre star Nadine Sierra sera Violetta Valéry qui alternera avec la soprano Adela Zaharia. Xabier Anduaga, Iván Ayón Rivas et le célèbre ténor Juan Diego Flórez, ce dernier chantera les 14, 17 et 20 juillet avec la star Nadine Sierra, trois jours à noter dans mon agenda. Verdi revient les 6 et 9 juillet, dans une version de concert sera interprété I Lombardi, un opéra qui n'est habituellement pas programmé donc je ne le manquerai pas, et une de mes sopranos préférées, Anna Pirozzi, chantera.Concernant le ballet classique, nous pourrons bientôt voir la bayadère de Minkus, et en octobre 2024 aussi le Lac des Cygnes sera interprété par le ballet de San Francisco, qui était déjà au lycée de Barcelone, en septembre 2001 exactement également avec le Lac des Cygnes et Je me souviens que j'ai été émerveillé par la danseuse Lucia Lacarra et par tout le théâtre. Ce fut une performance mémorable. Ces représentations madrilènes seront une excellente occasion d'entendre l'orchestre principal du théâtre royal interpréter cette merveilleuse partition. La compagnie nationale de danse donnera son célèbre Don Quichotte que j'ai tant apprécié à Barcelone, et il y aura cinq représentations qui seront un succès certain, c'est une version fabuleuse, une de mes préférées et je ne la manquerai pas, ce sera en février et mars 2025, une autre occasion en or de voir cette merveilleuse compagnie et aussi d'écouter la brillante musique de Minkus, l'orchestre principal du Théâtre Royal devient un expert en Minkus, maintenant avec la bayadère et plus tard avec Don Quichotte, des spectacles fabuleux qui donnent l'occasion de connaître l'orchestre dans ses interprétations de la musique de ballet, une grande chance pour ceux qui assistent à ces représentations. L'orchestre nous offrira également la merveilleuse musique de Gustav Mahler dans Concertante, un ballet que le Ballet national de Vienne nous proposera en mai 2025. Je tiens également à souligner le 5 septembre que la star de l'opéra Anna Netrebko chantera aux côtés de Yusif Eyvazov, la diva de l'opéra chantera des scènes de Turandot, La bohème, Manon Lescaut, Le villi et aussi Madame Butterfly, le beau duo, j'imagine c'est ce qu'ils interpréteront. J'espère pouvoir assister ce soir-là à ce concert unique et extraordinaire, l'orchestre et le chœur accompagnés du baryton Jérôme Boutillier et de la soprano Daria Rybak se produiront aux côtés des stars de l'opéra, dans ce qui s'annonce comme la soirée lyrique du année, un de ces jours qui entrent dans l’histoire des amateurs d’opéra.

London - La forza del destino 19 Sep–9 Oct 2023

Exactement le 6 novembre 2004, j'étais au Royal Opera House de Londres, assistant à la dernière représentation de la série de la force du destin qui a eu lieu ces années-là. Violeta Urmana était la soprano principale et le regretté et très admiré Salvatore Licitra était le rôle principal masculin de l'opéra, qu'elle avait également vu précisément dans ce même opéra, à Madrid, en l'an 2000 exactement, avec la soprano Ana María Sánchez , quelques performances mémorables. L'opéra revient à Londres et ce sera avec une de mes sopranos préférées que j'ai entendu de nombreuses fois, c'est pourquoi elle est ma soprano préférée, logiquement, et aussi parce que j'adore découvrir ses nouveaux rôles, ses nouvelles interprétations, ses la voix est vraiment extraordinaire, son timbre, sa puissance, ses aigus, tout est mémorable, et logiquement, son interprétation, je suis très excité de voir son Eleonora dans ce fabuleux opéra dont Verdi lui-même était très fier et que les experts considèrent comme le mieux orchestré avec Otello.L'opéra sera donné exactement les 19, 24, 27 septembre et les 2, 6, 9 octobre.Six performances à ne manquer sous aucun prétexte.J'espère pouvoir aller à Londres, vingt ans plus tard, comme je m'en souviens curieusement comme si c'était hier et que 20 ans se sont déjà écoulés.La star de l'opéra, la fabuleuse et inégalée soprano Sondra Radvanovsky, chantera bientôt à Londres le rôle difficile d'Eleonora dans l'opéra tout aussi difficile La Forza del Destino. Je ne sais pas si c'est ses débuts dans ce rôle, je pense que oui, c'est ce qui rend encore plus attractif de pouvoir assister à cette première, qui sera sans aucun doute l'un des moments les plus importants de la saison londonienne et en le Royal Opera House Theatre est une excuse parfaite pour voyager en Angleterre et voir une représentation de ce fabuleux opéra dans quelques jours et aussi pouvoir assister dans les mêmes jours à une représentation du ballet Don Quichotte avec les stars de Covent Garden, notamment les débuts d'Anna Rose O'Sullivan dans le rôle de Kitri. Sans aucun doute, Londres propose un double programme très attractif.

Exactly on November 6, 2004 I was at the Royal Opera House in London, attending the last performance of the series of the force of fate that took place in those years. Violeta Urmana was the leading soprano and the late and much-admired Salvatore Licitra was the male lead of the opera, whom she had also seen in precisely this same opera, in Madrid, in the year 2000 exactly, together with the soprano Ana María Sánchez,some memorable performances. The opera is coming back to London and it will be with one of my favorite sopranos that I have heard many times, that is why she is my favorite soprano, logically, and also because I love discovering her new roles, her new interpretations, her voice is truly extraordinary,his timbre, his power, his treble, everything is memorable, and logically, his interpretation, I am very excited to see his Eleonora in this fabulous opera that Verdi himself was very proud of and the experts consider the best orchestrated along with Otello.The opera will be given exactly on September 19, 24, 27, and October 2, 6, 9.Six performances that should not be missed under any circumstances.I hope to be able to go to London, twenty years later, how curious I remember it as if it had been yesterday and 20 years have already passed.The opera star, the fabulous and unsurpassed Soprano Sondra Radvanovsky, will soon sing in London the difficult role of Eleonora in the equally difficult opera, La Forza del Destino. I don't know if this is her debut in this role, I think so, it's what makes it even more attractive to be able to attend this premiere, which will undoubtedly be one of the most important points of the London season and in the royal opera house theater a perfect excuse to travel to England and see a performance of this fabulous opera in a couple of days and also be able to attend during the same days a performance of the ballet don quixote with the stars of covent garden, especially the debut by Anna Rose O'Sullivan as Kitri. Without a doubt, London offers a very attractive double program.

Esattamente il 6 novembre 2004 ero alla Royal Opera House di Londra, ad assistere all'ultima rappresentazione della serie della forza del destino che si svolgeva in quegli anni. Violeta Urmana era il soprano principale e il defunto e molto ammirato Salvatore Licitra era il protagonista maschile dell'opera, che aveva visto anche proprio in questa stessa opera, a Madrid, esattamente nell'anno 2000, insieme al soprano Ana María Sánchez , alcune esibizioni memorabili. L'opera sta tornando a Londra e sarà con uno dei miei soprani preferiti che ho ascoltato molte volte, per questo è il mio soprano preferito, logicamente, e anche perché mi piace scoprire i suoi nuovi ruoli, le sue nuove interpretazioni, i suoi la voce è davvero straordinaria, il suo timbro, la sua potenza, i suoi acuti, tutto è memorabile, e logicamente, la sua interpretazione, sono molto entusiasta di vedere la sua Eleonora in questa favolosa opera di cui lo stesso Verdi era molto orgoglioso e che gli esperti considerano la migliore orchestrazione insieme ad Otello.L'opera sarà rappresentata esattamente il 19, 24, 27 settembre e il 2, 6 e 9 ottobre.Sei spettacoli da non perdere in nessun caso.Spero di poter andare a Londra, vent'anni dopo, che curiosa la ricordo come se fosse stato ieri e fossero già passati 20 anni. La star dell'opera, la favolosa e insuperabile soprano Sondra Radvanovsky, canterà presto a Londra il difficile ruolo di Eleonora nell'altrettanto difficile opera, La Forza del Destino. Non so se questo sia il suo debutto in questo ruolo, penso di sì, è ciò che rende ancora più attraente poter assistere a questa première, che sarà senza dubbio uno dei momenti più importanti della stagione londinese e del teatro dell'opera reale una scusa perfetta per viaggiare in Inghilterra e vedere una rappresentazione di questa favolosa opera in un paio di giorni e poter anche assistere negli stessi giorni ad una rappresentazione del balletto Don Chisciotte con le stelle di Covent Garden, in particolare il debutto di Anna Rose O'Sullivan nel ruolo di Kitri. Senza dubbio Londra offre un doppio programma molto interessante.