The Verona Arena Festival: A Century of Lyrical Passion and a Dazzling Anniversary Edition

Directed by Paola Ciccolella, the Italian Cultural Institute of Marseille hosted the presentation of the ambitious and generous program of the Verona Arena Festival, supported by the Verona Arena Foundation, in the presence of the festival’s co-artistic directors, Stefano Trespidi and Cecilia Gasdia, who is also the Superintendent, on May 9th.

This anniversary edition is special in many ways: not only does the festival extend over 2 and a half months, from June 16th to September 9th, but it also celebrates its 100th anniversary with a stunning novelty. Each season, a new production is offered, and this year, there will be two exceptional creations that will illuminate the Arena: Verdi’s Rigoletto and Aida! Additionally, we will have the pleasure of seeing Kaufmann and Alagna, who made their career debuts right here.

An Ambitious and Generous Program

This edition presents a multitude of world-renowned operas, such as those by Verdi, Puccini, Rossini, and Bizet, presented in the staging of the greatest directors, like Franco Zeffirelli, who unfortunately passed away a few days before the premiere of his last Aida in 2019. In total, eight operas and five special events will be presented, featuring renowned artists, offering a rich and intense program of discoveries with performances spaced out over time and operas presented in greater alternation compared to previous years.

On the program, we will find Aida and Rigoletto in new productions, as well as Carmen (Bizet), The Barber of Seville (Rossini), La Traviata (Verdi), Nabucco (Verdi), Tosca (Puccini), and Madame Butterfly (Puccini) in the historical stagings that have contributed to the success of the Arena. Three of these productions are signed by Franco Zeffirelli (Carmen, La Traviata, and Madame Butterfly). Juan Diego Flórez, Piotr Beczala, Asmik Grigorian, Elena Stikhina, Christian Van Horn, and Riccardo Chailly will make their debut at the Verona Arena, along with soprano Nadine Sierra and mezzo-soprano Marina Viotti, who will participate in a stage production of the festival for the first time. The five gala evenings will celebrate Jonas Kaufmann, Plácido Domingo, Juan Diego Flórez, dance with an evening of « Roberto Bolle and friends » as well as a grand concert by the Orchestra of La Scala in Milan conducted by Riccardo Chailly.

Two New Productions to Illuminate the Arena

According to Stefano Trespidi, the new production of Aida, directed by Stéfano Poda and presented as the opening performance on June 16, will be a breath-taking spectacle. He promises “a modern aesthetic, stunning visual effects, and a level of modernity never before seen in the Arena”. As for Rigoletto, in a staging by Antonio Albanese, it will pay “homage to the golden age of Italian neorealist cinema from the 1950s and 1960s”.

Renowned Artists and Emerging Talents in the Spotlight

The greatest international voices will be present -Roberto Alagna, Plácido Domingo, Yusif Eyvazov, Vittorio Grigolo, Jonas Kaufmann, Aleksandra Kurzak, Clémentine Margaine, Anna Netrebko, Lisette Oropesa, Anna Pirozzi, Anita Rachvelishvili, Luca Salsi, Erwin Schrott, Ekaterina Semenchuk, Ludovic Tézier, Sonya Yoncheva- continuing the tradition of this venue that witnessed the early career of artists such as Callas.

Additionally, numerous emerging young artists will have the opportunity to shine. Indeed, one of the unique aspects of this festival is the integration of promising talents from the lyrical scene such as the young mezzo-soprano, Sofia Koberidze or the tenor, Matteo Mezzaro, into the productions, in line with Cecilia’s vision. As a native of Verona, Cecilia also pianist started as an extra, then joined the chorus before becoming a soloist at the Verona Arena Festival. She also sang at the Marseille Opera 25 years ago. Both this city and opera hold a special place in her heart, as her daughter, Alexandra Bartoli, made her debut in Macbeth this year.

As festival’s director for the past five years, Cecilia aims to introduce new generations of artists to the audience and provide them with the opportunity to sing alongside the greatest opera singers. “Singing in the Arena does not require a powerful voice but vocal technique, projection, and quality.”

Transmission and Music Education without Compromising Artistic Quality

Transmission and music education are at the core of her work. One doesn’t need to be an opera specialist to appreciate these lyrical works, as evidenced by the diversity of the festival’s audience, as she explains. Only 10% of the spectators are true connoisseurs of these works. “It is a public and popular event that does not compromise on artistic quality”, as highlighted by Ricardo Mutti, speaking about the musical demand. “In 1980, Mutti conducted his first Verdi Requiem in the Arena, and in 2021, he returned for the 150th anniversary of Aida. The Arena has also hosted historic productions, including Zeffirelli ‘s Carmen 20 years ago. Therefore, it is crucial to maintain the quality and grandeur of the festival”.

The Oldest and Largest Open-Air Theatre Since 1913

The Arena, owned by the city since the 16th century, is a valuable heritage to preserve and restore. Transformed into the world’s largest Theater, the amphitheatre welcomes 13,000 spectators every evening. As Stefano emphasizes, “with its 44-meter length, the Arena’s stage is three times larger than that of Milan’s La Scala.” It’s safe to say that this immense stage lends itself wonderfully to the grandiose opera sets. “Since 1913, this festival has been the oldest and largest open-air theater in the world! It offers a unique spectacle”.

A Vision for the Future: Embracing New Technologies

Cecilia ensures the preservation of traditions while injecting a forward-looking vision. Adaptations to new technologies are planned, including “the experimentation of a 400-square-meter video screen with LEDs and the creation of a movable bridge for set changes to make them faster and avoid long intermissions”, adds the co-director.

Behind the Scenes: A Vibrant Village

On a daily basis, 1,400 people, mostly residents of Verona, work for the festival. Stefano explains that “each evening offers a different production, and it is a full-time job. The show ends at 1 am, then the dismantling takes place until 6 am, and at 7 am, the stage set-up begins for the evening. Within the same day, they work on three or four different works simultaneously, across multiple locations, which is unique in the world. No other theater can do as much. All the workers in Verona are proud of this cultural heritage, and the backstage area is like a village, with love stories that arise and break apart. It’s a blend of the beauty of the place, music, stage design, and hundreds of people coming together in this hive”.

This festival is the opportunity to come to Verona and discover the world of lyrical art, a vibrant and living art form, and to immerse yourself in the rythm of bel canto! Be ready. Diane Vandermolina

More information: www.arenadiverona.it

Bonus

An Enchanting Evening of Lyricism with Young Promising Talents

The presentation was followed by a lyrical recital featuring three young singers: Swiss soprano Daria Rybak, mezzo-soprano Sofia Koberodze, and tenor Matteo Mezzaro, accompanied on the piano by the director herself! And what a program, what an evening! What a mezzo! Sofia, in love with the French Opera, dreams of singing in Massenet’s Werther or Manon and she enchanted us with her magnificent interpretation of « L’amour est un oiseau rebelle » from Carmen – her French diction is remarkable, at the height of our compatriots.

She also treated us to her light and sparkling performance of « Una voce poco fa » from The Barber of Seville – one could easily imagine her in the role of Musetta in La Bohème. Not to mention her superb rendition of « Oh, dischiuso è il firmamento » in Nabucco, as well as her highly successful duet with Daria Rybak in « Scuoti quella fronda di ciliegio » from Madame Butterfly, where both demonstrated beautiful harmony and attentive listening, with Daria Rybak offering an ideal voice to portray Cio Cio San. Daria particularly captivated the audience with her duet with the tenor on « Parigi, o cara, » an aria from La Traviata.

As for the tenor, Matteo also excelled, displaying remarkable stage presence and his warm voice with radiant high notes enchanted the audience, both in his duets and his Verdi solos, notably « De’ miei bollenti spiriti » from La Traviata and « La donna è mobile » from Rigoletto. These young talents are the ones to watch! DVDM

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