Legend has it that “La forza del destino” is a cursed opera, associated with tragedies that seem to haunt every new production. From companies falling into bankruptcy after staging it, to severe technical and production errors arising after the famous overture, and even the deaths of artists linked to the work—this reputation seems to have marked its history. This year, however, Teatro alla Scala defied that superstition by choosing this opera to open its 2024-25 season, an especially significant event since “La forza” hadn’t inaugurated a Scala season since 1965. Fortunately, this year’s production avoided major misfortunes, save for one minor incident which, though anecdotal, had no significant consequences.

The “mini-misfortune” revolved around the tenor role, marked by unexpected instability. Originally, Jonas Kaufmann was announced to play Don Alvaro, but he canceled weeks before the premiere due to family reasons. In an intriguing coincidence, the Gran Teatre del Liceu in Barcelona was staging the same opera with Brian Jagde in the leading role, which facilitated his emergency inclusion at La Scala and allowed him to perform at the traditional Dec. 7th opening night. However, the birth of Jagde’s child forced him to cancel some of the scheduled performances in Milan. In his absence, Luciano Ganci once again came to the rescue of the Milanese theater, recalling his impromptu recital appearance after the cancellation of the Hommage to Puccini on Nov. 29th, which had involved the opera’s leading stars. For the Dec. 19th performance, which is the subject of this review, Jagde returned to the stage, portraying the ill-fated Spanish lover.

In terms of media impact, La Scala’s new production was a resounding success. The opening night on Dec. 7th, broadcast live on Italy’s main television channel Rai1, achieved a 10.2% audience share during its four-hour runtime, equivalent to over 1.6 million viewers. This percentage surpasses last year’s results, when “Don Carlo” was viewed by 1.4 million people, though the 2019 “Tosca” record, with 2.85 million viewers, remains unbeaten. A common denominator among these three productions—besides Riccardo Chailly’s musical direction—is the presence of Russian soprano Anna Netrebko in the leading role. It is likely that her figure significantly contributed to capturing such a vast audience.

Thoughtful Production

The stage direction of this renowned title was entrusted to the experienced Leo Muscato, who delivered a meticulous and thoughtful interpretation of the theme of war, reimagining the work through a timeless historical perspective. The Italian director set the scenes across different eras, ranging from the 18th century in the first act to contemporary times in the fourth. This decision underscores the universal and tragic message of the opera: war is a constant in human history, regardless of the period in which it is set. While this choice might seem dramaturgically confusing, it proved to be an effective way to reinforce the central concept. The bold reinterpretation of this Verdi classic in a modern key resulted in a spectacular production, possibly the most impressive at La Scala in the past five years.

The post Teatro alla Scala 2024-2025 Review: La Forza del Destino appeared first on OperaWire.

So as has become our tradition, here is a look at some of OperaWire’s editorial team’s picks for their personal favorite performances of 2024.

Matt Costello: Act three of “Götterdämmerung” – Tanglewood

It’s always a tricky thing to think about one’s “Performance of the Year.” Especially challenging when there were a great number of remarkable performances – for which, at this end of year – I am certainly thankful.

But for this exercise, I used some helpful criteria. First, was it extraordinary? Obvious one that. Then: were all the elements of the performance at the same or similar wonderful level? And finally, is there something perhaps surprising about it….even unexpected? And with that, it was easy to make a choice. This year, during their always fantastic summer season, Tanglewood and the Boston Symphony Orchestra programmed Act three of Wagner’s tetralogy finale, “Götterdämmerung.” 

Extraordinary? Well, the BSO, under Andris Nelsons, always hits that mark. And the performers, remarkable as well, led by Christine Goerke’s Brünnhilde and Michael Weinius’s Siegfried. But the entire ensemble was simply wonderful. 

And the surprise? That in a summer concert series, people picnicking on the lawn, candles and bubbly often spotted, such a weighty piece was scheduled, and then pulled off. And with such intense drama…despite no sets and mostly minus props, and yet riveting. Totally compelling – and I say this having been to the mecca of Wagner performances, Bayreuth.

Bernardo Gaitan: “Il cappello di paglia di Firenze” – Teatro alla Scala

This is undoubtedly one of the best shows of 2024, showcasing a fresh revitalization of a little-known gem from the operatic repertoire. This hilarious contemporary farce by Nino Rota—a prolific yet often unperformed composer in the operatic realm—shone brightly in an impeccable production that perfectly captured the work’s light and sophisticated essence.

The post Best of 2024: OperaWire’s Team on the Best Performances of the Year appeared first on OperaWire.

Anna Netrebko has been named the 56th Premio Puccini recipient.

The Puccini festival announced that on Dec. 20, the soprano will receive the award in Torre del Lago.

In a statement, the organization said, “The most famous soprano in the world Anna Netrebko, “unique voice in the world” will be in Torre del Lago on Friday 20 December to receive the Puccini prize, the highest recognition of the City of Viareggio and Fondazione Festival Pucciniano awarded every year to performers, artists, and personalities of the world of opera, who have distinguished themselves for their interpretation, promotion or contribution to the work of Giacomo Puccini and to opera culture in general.”

Netrebko has performed Puccini around the world as Turandot, Mimì, Manon Lescaut, Tosca, and Musetta and has sung 28 productions in 15 different theatres/festivals in eight countries on four continents.

Of Puccini, Netrebko said, “he wrote extraordinary scores for soprano.”

The ceremony will be held at the Auditorium Enrico Caruso and will showcase Alberto Mattioli as well as Domenico Pierini and Silvia Gasperini.

Netrebko joins past winners Gianadrea Noseda, Jonas Kaufmann, Anna Pirozzi, Angela Gheorghiu, Vittorio Grigolo, Barbara Frittoli, Maria Guleghina, José Carreras, Maria Callas and Mirella Freni, among others.

The post Anna Netrebko to Receive Premio Puccini appeared first on OperaWire.

SeokJong Baek’s rise to prominence in the opera world can only be described as meteoric, if not almost difficult to believe. Almost 15 years singing as a baritone, a chance encounter with fellow South Korean tenor Yonghoon Lee suggested to him that he might make a better tenor than a baritone.

Despite joining the San Francisco Young artists program as a baritone in 2019, the Covid 19 pandemic became the impetus for SeokJong to make the change. He trained himself, religiously, singing daily in a South Korean church in San Fransisco, almost giving up his quest at one point after making little progress in his vocal transition. After the
pandemic as over, he had progressed sufficiently to enter competitions and it is testament to his abilities that three of his first roles as a tenor were at the Royal Opera House in London, a level of prestige that many singers work years, if not decades, to achieve.

Operawire caught up with SaekJong at the Royal Opera House, the night after his opening night as Cavaradossi in Puccini’s “Tosca.”

OperaWire:
Hello SeokJong, thank you for speaking with OperaWire. How does it feel to be back here at Royal Opera after your big debut success as Samson in 2022?

SeokJong Baek:
I mean, it’s always delightful for me, since I made my surprise debut here and they like to have me. I’m so fortunate. I feel so blessed. Every time I come here, luckily the roles that I’m singing are very much fit for my voice, so I’m always feeling that I come ready and ready to sing. you know what? So, it’s my second home! (Laughs)

OW:
You once described yourself as “a bit of an introverted guy from South Korea.” So how does such a guy make what many are describing as a meteoric rise in the opera world, having only transitioned from baritone to tenor during the Covid pandemic, and how DID you make such a transition?

SJB:
I’m just an ordinary person who loves singing. I was so into singing and I always look for how to sing better, and what is pure knowledge of bel canto singing.

And yes, I’ve been singing as a baritone for many, many years, nearly 15 years. When I was around 27 years old, my voice started to stretch out a bit. During my academic years at Manhattan school of music. I was unstable with my economy. I couldn’t’t support my tuitions. And it was so hard to continue the study. Because of that, all I could do was focus on singing.

Mom said “Don’t try to work and make money. You need to focus on singing”

Then I fully focused on how to speak naturally, then discovered that speaking is the most important thing, the key to singing. And then I practiced singing as I’m speaking.

After many months, all of a sudden, my high notes extended above A5 to C6. It felt like falsetto, but I would never imagine I could sing a tenor aria.

Also, I fully agreed with my teacher that I was a baritone. At the time I was singing Germont. My teacher said: “you are a young Verdian baritone.” My whole life I sung as a baritone, and I was trained as a whole technical baritone, but I could also hit high notes, so I was curious about my voice.

Then many years passed, one day in December 2018, I met Yonghoon Lee who told me that I could be a tenor. And in 2019, I entered the San Francisco Young artists program as a baritone. I finished all the small roles as a baritone. But I had already decided to change my voice. And then at the very end of the final show, I sang with Eun-sun Kim who was a guest conductor at the time, and they gave me an opportunity to sing tenor arias. It was “Recondita Armonia” in Tosca. It was the first time that I ever sang tenor arias in public.

So, I made the change and became a tenor in 2020. It was such a change and challenging. As soon as I committed to change, the pandemic happened. Nobody could really keep in touch because of social distancing. So, the only way I could train was by myself.

It was lucky for me that I had enough time to settle down my voice. I thought that I might need at least two years to settle down my voice. I went to a Korean church in San Fransisco. Without skipping a day, I went there to practice. Every day I just kept practicing and kept practicing. The first six months, maybe a year, was really terrible. I tried to sing tenor arias, but I couldn’t’t make it. Maybe I could sing in the early part of the aria. but as the aria goes to the end, all the tension and the high notes that I knew before from the time, it was totally different. So I began regretting and thinking that I’d made a huge mistake trying to become a tenor. And I was already doing OK as a baritone.

But I just kept training and practicing in the church. Also,I prayed a lot. I did not even make a sound until I finished praying.

The key was speaking. I tried to make my voice resonate through the mask area. And then I opened up my body, connecting the resonance to it. So, I trained my voice, first by speaking. Then I put my singing into this method. After a year or so, it started to feel a little bit easier, and I could begin to sing full arias. Over the next few months, it felt as though I was getting better and better. Then as soon as the pandemic settled down, they started to have in-person competitions. Then I went to competitions, and I won them. That was a huge change.

When I made my tenor debut at Royal Opera House with Elīna Garanča, she was my first partner as a tenor. She was like: “Can you imagine you’ve been singing as a baritone for many years? No, you’re born to be a tenor.” 
That’s what she said.

OW:
I saw you in “Cavalleria Rusticana” at the Royal Opera House, replacing an indisposed Jonas Kaufmann. I read recently you were offered the role with less than two weeks to go before opening and that you didn’t know the role! How did you learn it so quickly?

SJB:
That was another of my biggest… well…. a career threatening time! You know I made such an impression with “Samson and Delilah.”

And then one day at the end of the rehearsal, Maestro Pappano was looking at his phone, and he seemed freaking out. I didn’t know why but after a few days, I heard that Jonas was ill and was not coming to the rehearsal, and then he may be coming a few days before the opening night. Maestro came to me and said:
“SeokJong, do you want to cover this role? 
I accepted it of course, and then people started saying:
“Hey SeokJong, you’re going to be singing it. I bet he might not come. and you will end up having to sing it!”

So all of a sudden, I got so stressed because you know I had no idea about this opera. I only knew the key aria. So, then I was freaked out and I was trying to find somebody to help me to learn the music. At that time when I started learning the music I had three shows left in the week for Samson. Three shows left and then I started to learn the music for “Cavalleria” for four hours every day with the coach here. That week was the most challenging time because I had to finish the three “Samson” shows and then I sang every day for four hours. I finally got into the rehearsal and then there was Maestro Tony Pappano and several coaches there.

He asked:
“Can you play it?”

I told him I couldn’t do it. I had learned it, but it wasn’t yet in my head. I was so freaked out, sweating a lot. I felt so naked.

I said: “I’m so sorry. Maestro”

He replied: “It’s okay. Just do it. Just do it”

So, I started to learn the choreography. After three to four days, I started to learn all the choreography, and then, I started memorizing as well. Another three to four days, I took to the first stage with the full orchestra. And then that was the first time I sang the whole way through it without music. So, it was like one week and four days of rehearsal. I learned the opera. Luckily because “Cavalleria” is not a huge, long opera. Somehow it seemed to work.

OW:
What was it like working with Maestro Pappano. He has a great reputation for being a singer’s conductor also, doesn’t he?

SJB:
I mean, it’s absolutely delightful to work with Maestro Pappano because he’s a very passionate Italian soul. He’s very active in the rehearsal and demanding musically what the singer needs to be. I’m a bit of a shy person but he was like pushing me to a certain level and he inspires me so much. Working with Maestro Pappano is very challenging as a singer. Sometimes he literally asks to sing piano. But it can be dangerous for the singer who is… somebody who has not a secure technique. I was able to do what he requested. I was very pleased that I could do it.

OW:
Tell me about growing up in South Korea. You had a lot of exposure to opera as a young man?

SJB:
My parents and other family love music. I have an uncle who conducts in church. My father joined an amateur voice group singing. My mother sings gospel every day at home. My sister was the only real musician in my family. She was training as a pianist, but in her teenage years, she started to sing. She became a soprano. And then at the time, I was a teenager also, 16, 17 years old, looking for what to do in the future.

When I was younger, I was a person who was very active and I also wanted to be an athlete; like be a basketball player or judo, I love judo. My Grandpa suggested that I focus on my studies, so I put that idea aside. But a few years later my parents suggested that I follow my sister and sing.

I had an audition with her teacher in town and then, I started to clearly, fully decide to be a singer.
I remember one day when I came home, I was Googling “the best classical singers” and I discovered Luciano Pavarotti. It is such a shame I never knew him before. When I first heard him sing, his signature aria, “Nessun Dorma” and I was like “Wow! Is this classical singing?” I was mesmerized by his singing

OW:
So Pavarotti was your big influence? Who else did you take inspiration from?

SJB:
Really, only Pavarotti, but baritone-wise it was Cappuccilli, Renato Bruson, Ettore Bastianini… but once I heard that “Nessun Dorma,” the tenor aria after that, I was miserable for weeks because I couldn’t sing it, as a baritone. I was sad.

OW:
But you DID go on to sing it, to great acclaim at the Met?

SJB: It was the season for the house debut. “Nabucco” and “Turandot.” It was so fantastic to sing this role at the Met. Like a young boy who dreamt of singing the role and it finally came true.
I almost had an encore! “Nessun Dorma” but the regulation was, if the audience applauds for one full minute, then we do the encore! I think they clapped for 45 seconds, (laughing), so I didn’t make it! But I made an encore another day at the Met.

And this season I am singing “Turandot” here at the Royal Opera House in next spring. But I’m also debuting a new role in Arizona with MORE Puccini in January. I am singing “La Bohème.” I’m working on it. It’s a bit high! I knew that it’s high, but I never realized how high, compared to the other roles I perform. It could be a little like too dramatic with my voice. But why not? It’s a Puccini opera so I can be a little bit fuller than regular tenors.

OW:
You have achieved so much in a comparatively short space of time. What would you like to work on next?

SJB:
Well, “Turandot” was always my dream role. Now, finally, I can claim it as my signature role. Since my debut two or three years ago, I have had more than eight roles debut. “Samson,” “Cavalleria” “Turandot,” “Tosca,” “Aida,” “Butterfly”…

My next, new future roles are “I Vespri Siciliani” in French at the Royal Opera House. And I’m preparing for “La Fanciulla del West” and later “Don Carlo” at the Met.
Also, I want to sing “Il Trovatore” and “Carmen.” They haven’t been planned yet.

OW:
What do you like to do when you’re not singing?

SJB:
Taking care of my condition and health due to heavy schedules, but the most important thing for me is sleeping. Sleeping well gets you better immune systems. I need at least eight hours. If I’m still tired, I take more sleep for one or two hours.

And I don’t smoke, I don’t drink, and I barely take sugary drinks. I try to avoid bad things for your health.
But I’m blessed. I’m so overwhelmingly happy when I’m doing rehearsal and singing with a fresh voice. I’m so blessed. All that working and practicing in that church during the lockdown was worth it. It was long and deep, the dark tunnel, but I just kept going forward with faith until I finally came into the light.

The post Q & A: SeokJong Baek On His Favorite Roles & How His Faith & Voice Transitioned His Opera Career appeared first on OperaWire.

Opera

First up is “Don Giovanni” in a production by Robert Icke starring Andrè Schuen, Krzysztof Bączyk, Golda Schultz, Magdalena Kožená, Amitai Pati, Clive Bayley, Madison Nonoa, and Paweł Horodyski. Sir Simon Rattle conducts.

Performance Dates: July 4 – 18, 2025

Charpentier’s “Louise” stars Elsa Dreisig, Adam Smith, Sophie Koch, Grégoire Mour, Roberta Alexander, Marianne Croux, Carol Garcia, and Karolina Bengtsson. Giacomo Sagripanti conducts a production directed by Christof Loy.

Performance Dates: July 5-13, 2025

Sébastien Daucé conducts Jetske Mijnssen’s production of “La Calisto” with a cast starring Lauranne Oliva, Alex Rosen, Giuseppina Bridelli, Paul-Antoine Bénos-Djian, Anna Bonitatibus, David Portillo, Zachary Wilder, Dominic Sedgwick, Théo Imart, and José Coca Loza.

Performance Dates: July 7 – 21, 2025

Peter Sellars directs “The Nine Jewelled Deer” by Sivan Eldar and Ganavya Doraiswamy, the latter of whom stars alongside Aruna Sairam.

Performance Dates: July 6 – 16, 2025

“The Story of Billy Budd, Sailor,” is adapted from Britten’s famed opera “Billy Budd” and stars Ian Rucker, Joshua Bloom, Christopher Sokolowski, and singers from the Résidence Voix de l’Academie 2025. Ted Huffman directs the adaptation by Oliver Leith. Finnegan Downie Dear conducts.

Performance Dates: July 5 – 10, 2025

There will be a concert performance of “Les Pêcheurs de Perles” starring Mané Galoyan, Pene Pati, Florian Sempey, and Edwin Crossley-Mercer. Marc Minkowski conducts.

Performance Dates: July 19, 2025

Anna Pirozzi and Brian Jagde headline “La Forza del Destino” in a concert version conducted by Daniele Rustioni. Thee opera also stars Ariun Ganbaatar, Ekaterina Semenchuk, Michele Pertusi, Ambrogio Maestri, Rodolphe Briand, Julie Pasturaud, and Louis Morvan.

Performance Dates: July 20, 2025

Concerts

Sébastien Daucé and a resident woman conductor to be named at a future date will lead the final concert of the voice residency.

Performance Dates: July 7, 2025

Stépahende Degout and the Quatuor Diotime perform.

Performance Dates: July 10, 2025

Jakub Jósef Orlinski and Michal Biel perform a recital.

Performance Dates: July 11, 2025

Ermonela Jaho and Pantesilena Jaho present a recital.

Performance Dates: July 12, 2025

Jonas Kaufmann, Diana Damrau, and Helmut Deutsch present a program of Strauss and Mahler.

Performance Dates: July 17, 2025

The post Jonas Kaufmann, Andrè Schuen, Elsa Dreisig, Lauranne Oliva, Ermonela Jaho, Mané Galoyan Headline Aix-en-Provence 2025 Festival appeared first on OperaWire.

The winners will be revealed on Jan. 14 and will receive their trophies at the gala at the Tonhalle in Düsseldorf on March 19. Here are the vocal nominees. 

Baroque Vocal 

• Johann Sebastian Bach: Complete Solo Cantatas for Alto and Bass: J.S. Bach: Cantatas BWV 56, BWV 170, BWV 54, BWV 158,
  BWV 35, BMW 82, BWV 169 – M. Oitzinger, P. Kooij, L’Orfeo Barockorchester
• Händel: Dixit Dominus + Nisi Dominus + Laudate pueri – C. Sampson, J. Winkel, V. Wilson, A. Potter, H. Hymas, A. Wolf, RIAS Kammerchor Berlin, Akademie für Alte Musik Berlin, J. Doyle
• Invocazioni Mariane:  Porpora – Vinci – Anfossi – Pergolesi – Ragazzi – A. Scholl, Accademia Bizantina, A. Tampieri N

Vocal Music 

• “In the Shadows:” Mehul – Beethoven – Rossini – Meyerbeer – Weber – Auber – Spontini – Bellini – Marschner – Wagner – M. Spyres, Les Talens Lyriques, C. Rousset
• “Urlicht:” Mahler – Zemlinsky – Humperdinck – Korngold – Pfitzner – Braunfels – Berg – S. Hasselhorn, J. Grüter, The Poznań Nightingales Boys’ Choir, Poznan Philharmonic Orchestra, L. Borowicz
• “Czech Songs: “Dvorak – Klein – Krasa – Martinu – M. Kozena, Czech Philharmonic Orchestra, S. Rattle

Choral Music 

• Bruckners Welt: Bruckner: Messe No. 2 + Ave Maria + Locus iste + Virga Jesse + Os justi + Christus factus est + Aequale Nos 1 + 2 – Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester, P. Dijkstra
• Mozart: Requiem + Miserere mei, K. 90 – Ch. Lazreq, Y. Fang, B. Taylor, L. Kilsby, A. Rosen, Pygmalion, R. Pichon
• Elgar: The Dream of Gerontius A. Stéphany, N. Spence, A. Foster-Williams, Polish National

Opera 

• Charpentier: Médée – V. Gens, C. Dubois, J. van Wanroij, T. Dolié, D. Witczak, Le Concert Spirituel, H. Niquet
• Janacek: Katya Kabanova – A. Majeski, K. Dalayman, S. O’Neill, A. Staples, M. Kozená, L. Elgr, P. Hunka, London Symphony Orchestra & Chorus, S. Rattle
• Wagner: Parsifal – J. Kaufmann, L. Tézier, E. Garanča, G. Zeppenfeld, W. Koch, S. Cerny, Chor und Orchester der Wiener Staatsoper, P. Jordan

Premiere Recording 

• Beydts: Melodies & Songs – C. Dubois, T. Raes
• Saint-Saëns: Déjanire – K. Aldrich, J. Dran, A. Constans, Orchestre Philharmonique
• De Blamont: Le Retour des Dieux sur la Terre + Le Caprice – C. Debieuvre, M. Lafdal-Franc, D. Witczak, Helsinki Baroque Orchestra, Les Chantres du Centre de Musique Baroque de Versailles, A. Kossenko

Video Opera 

• Strauß: Die Fledermaus – D. Damrau, G. Nigl, K. Konradi, M. Winkler, Chor der Bayerischen Staatsoper, Orchester der Bayerischen Staatsoper, V. Jurowski, B. Kosky Bayerische Staatsoper
• Tchaikovsky: The Enchantress – A.Grigorian, I.MacNeil, C.Mahnke, A.Mikhailov, F.Jost, Z.Svede, Chor der Oper Frankfurt, Frankfurter Opern-und Museumorchester, V.Uryupin
• Martinů: The Greek Passion – G. Bretz, S. Kohlhepp, S. Jakubiak, C. Workman, C. Gansch, Ł. Goliński, Wiener Philharmoniker, Konzertvereinigung Wiener Staatsopernchor, Maxime Pascal, Simon Stone

The post Jonas Kaufmann, Elina Garanča, Magdalena Kozena, Asmik Grigorian & Diana Damrau Among 2025 ICMA Nominees appeared first on OperaWire.

The post 5 Key Points to Enjoy the “Prima della Scala” appeared first on OperaWire.

The concert, which was recorded on Nov. 29, will be shown at 7:15 p.m. and will include Jonas Kaufmann, Anna Netrebko, Mariangela Sicilia, and Luciano Ganci accompanied by pianist James Vaughan. The evening saw the soloists perform arias and duets from “Gianni Schicchi,” “Le Villi,” “Edgar,” “La Boheme,” “Manon Lescaut,” “Turandot” and “Tosca.”

The concert was dedicated to Giacomo Puccini, on the centenary of his death.

Originally scheduled to be conducted by Riccardo Chailly and feature the Teatoro alla Scala orchestra, the concert was altered due to a national strike and the theater improvised a new concert.

The post Rai5 to Broadcast Teatro Alla Scala’s Puccini Concert with Anna Netrebko & Jonas Kaufmann appeared first on OperaWire.

Opera

Bas Wiegers conducts Michael Jarrell’s “Kassandra” with actress Dagmar Manzel and the Ensemble Modern.

Performance Date: July 23, 2025

Salvatore Sciarrino’s “Macbeth” will be conducted by Vimbayi Kaziboni. Cody Quattlebaum, Alice Rossi, Leonardo Cortellazzi, Iris van Wijnen, and Davide Giangregorio.

Performance Date: July 25, 2025

Christophe Dumaux stars in Handel’s “Giulio Cesare in Egitto” with Olga Kulchynska, Lucile Richardot, Frederico Fioro, Yuriy Mynenko, Andrey Zhilikhovsky, and Jake Ingbar. Emmanuelle Haïm conducts the production by Dmitri Tcherniakov.

Performance Dates: July 26-August 17, 2025

Peter Sellars will direct Mahler/Schoenberg’s “One Morning Turns into an Eternity.” Esa-Pekka Salonen conducts a cast that includes Ausrine Stundyte and Wiebke Lehmkuhl. The evening consists of “Erwartung” and “Der Abschied.”

Performance Dates: July 27-August 18, 2025

Cecilia Bartoli, Varduhi Abrahamyan, Lea Desandre, Philippe Jaroussky, and Angela Winkler star in “Hotel Metamorphosis,” a pasticcio with music by Antonio Vivald in two acts. Gianluca Capuano conducts the production by Barrie Kosky. 

Performance Dates: July 31-August 15, 2025

Pene Pati leads in Mozart’s “Mitridate” with Sara Blanch, Elsa Dreisig, Paul-Antoine Bénos-Djian, and Julie Roset. Adam Fischer conducts Birgit Kajtna-Wönig’s semi-staging.

Performance Date: August 4, 2025

Kate Lindsey and Lisette Oropesa star in Donizetti’s “Maria Stuarda” with Bekhzod Davronov, Aleksei Kulagin, and Thomas Lehman. Antonello Manacorda conducts the production by Ulrich Rasche.

Performance Dates: August 1-30, 2025

Peter Eötvös’s “Three Sisters” will feature the talents of Dennis Orellana, Cameron Shahbazi, Aryeh Nussbaum Cohen, Kangmin Justin Kim, Mikołaj Trąbka, Ivan Ludlow, Jacques Imbrailo, Andrey Valentiy, Jörg Schneider, Jens Larsen, Anthony Robin Schneider, and Kristofer Lundin. Maxime Pascal and Alphonse Cemin conducts the production by Evgeny Titov.

Performance Date: August 8-24, 2025

Vladislav Sulimsky and Asmik Grigorian star in Verdi’s “Macbeth“ with Tareq Nazmi, Charles Castronovo, and Joshua Guerrero. Philippe Jordan conducts the revival of Krzysztof Warlikowski’s production.

Performance Date: August 9-29, 2025

Mozart’s “Zaide oder Der Weg des Lichts” will be conducted by Raphaël Pichon and will star Sabine Devieilhe, Lea Desandre, Julian Prégardien, Daniel Behle, and Johannes Martin Kränzle.

Performance Dates: August 17-22, 2025

Piotr Beczala stars in Giordano’s “Andrea Chénier” with Luca Salsi and Elena Stikhina.

Performance Date: August 25, 2025

Helena Sorokina, Marco Sala, Krassimir Sterev, Friederike Kühl, Hugo Paulsson, Jan Petryka, Manuel Alcaraz Clemente, and Alexander Bauer lead a program of music by Beat Furrer, Orlando di Lasso, and Arvo Pärt.

Performance Date: July 20, 2025

Friederike Kühl, Johanna Vargas, Johanna Zimmer, Iva Kovač, Marco Sala, Markus Wallner, David Pirrò, Cantando Admont, and Cordula Bürgi perform Luigi Nono’s “Io, frammento dal Prometeo.”

Performance Date: July 21, 2025

Raphael Höhn, Lionel Meunier, Carine Tinney, Stefanie True, Jan Kullmann, William Shelton, Florian Sievers, Vojtěch Semerád, and Sebastian Myrus lead Bach’s “St John Passion.” The Vox Luminis and Freiburger Barockorchester are conducted by Lionel Meunier.

Performance Dates: July 22-23, 2025

Christoph Waltz, Allan Clayton, Marina Viotti, Michael Volle, and Albert Dohmen star in Stravinsky’s “Oedipus Rex.” Lorenzo Viotti conducts.

Georg Nigl, August Diehl, and Alexander Gergelyfi take on Mozart’s “Nachtmusik.”

Georg Nigl, August Diehl, and Alexander Gergelyfi perform a “A Schubertiade.”

Gianluca Capuano conducts Mozart’s Missa in C minor K. 427 with soloists Mélissa Petit, Patricia Nolz, Anthony León, and José Coca Loza.

Performance Dates: August 6 & 7, 2025

Bogdan Volkov and Manuel Winckhler perform Mozart alongside the Salzburg Bach Choir and Mozarteum Orchestra Salzburg and conductor Roberto González-Monjas.

Performance Dates: August 9 & 10, 2025

Georg Nigl and Alexander Gergelyfi perform Schubert’s “Die schöne Müllerin.”

Performance Dates: August 14 & 15, 2025

Ying Fang, Wiebke Lehmkuhl, Pavol Breslik, and William Thomas lead a program of music by Schubert and Bruckner. The Vienna Philharmonic will be conducted by Riccardo Muti.

Performance Dates: August 15-17, 2025

Regula Mühlemann and Alexander Melnikov perform Mahler and Shostakovich with Utopia and Teodor Currentzis.

Performance Date: August 18, 2025

Sarah Aristidou leads a program of works by Ravel, Boulez, and Varèse with the Klangforum Wien Orchestra and conductor Sylvain Cambreling.

Performance Date: August 23, 2025

Elza van den Heever, Stanislas de Barbeyrac, and John Relyea perform Act one of Wagner’s “Die Walküre.” Yannick Nézet-Séguin conducts the Vienna Philarmonic.

Performance Dates: August 23 & 24, 2025

Masterclass

Julian Prégardien leads a masterclass with participants of the Young Singers Project.

Performance Date: August 3, 2025

Stéphanie d’Oustrac leads a masterclass with participants of the Young Singers Project.

Performance Date: August 15, 2025

The post Lisette Oropesa, Asmik Grigorian, Jonas Kaufmann, Diana Damrau, Cecilia Bartoli & Sabine Devieilhe Lead Salzburg Festival’s 2025 Season appeared first on OperaWire.

The company said that due to the national strike, it was forced to cancel its concert.

The concert was set to commemorate the 100th anniversary of Giacomo Puccini’s passing and included Puccini’s “Crisantemi,” “Preludio a orchestra,” “Preludio sinfonico in A major,” “Capriccio sinfonico,” Le villi’s “Tregenda,” Edgar’s “Prelude Act three,” Manon Lescaut’s “Interlude from Act three,” Madama Butterfly’s “Coro a bocca chiusa,” Suor Angelica’s “Interlude,” and “Inno a Roma” for chorus and orchestra. 

Ticketholders will be refunded by Dec. 10, 2024.

In addition to the Maggio Musicale Fiorentino, the Teatro alla Scala was forced to alter its concert due to the strike leaving the company without an orchestra and instead, a recital was performed featuring Anna Netrebko, Jonas Kaufmann, Mariangela Sicilia, and Luciano Ganci.

The post Maggio Musicale Fiorentino Cancels Puccini Celebration Concert Due to Strike appeared first on OperaWire.