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@cheljust

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Curlew River

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Curlew River

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Curlew River

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La Damnation de Faust

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La Damnation de Faust

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La Damnation de Faust

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At La Scala, Nabucodonosor is never just another Verdi title. Since its prima here in 1842, it has stood at the origin of Verdi’s artistic identity and within the cultural memory of the theatre itself. This return was definitely a serious re-examination of this masterpiece.

@talevi_director ‘s production understands the grandeur of the piece, but also its danger. Its lavishness is not decorative; it gives theatrical form to the opera’s central questions: power, faith, exile, collective memory, and the moment when suffering itself can harden into authority. The restored 1848 Brussels divertissement is not treated as an isolated curiosity, but becomes part of the production’s dramatic logic.

The reaction in the theatre mattered. A production this ambitious could easily have divided La Scala, especially the loggione. Instead, it was received with clear recognition:no booing of the direction, long applause, and an insistent bis for Va, pensiero to be repeated.

The cast was, in the fullest sense, the “best imaginable.”@anna_netrebko_yusi_tiago ‘s Abigaille remains the unchallenged contemporary reference point for the role: sovereign, fearless, and overwhelming in both vocal and dramatic authority. @lucabaritono gave Nabucodonosor stature, control and tragic humanity, answering any stupid awful comments through the performance itself. @francescomeliofficial @michelepertusi @veronicasimeonimezz together and the Chorus completed an ensemble worthy of the occasion.

M° @riccardochailly ’s final opera production as MD, the choice could not have been more meaningful. To close this chapter with the work through which Verdi truly began at La Scala was both historically precise and artistically powerful. This production stood within the theatre’s lineage while refusing mere nostalgia.

To have been there, to witness this moment in person, was a true privilege. I am deeply fortunate and honoured.

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#teatroallascala #actiondirector #nabucco #slackline #stunt Rehearsals trailer : Stunts & Action & Slack line
Teatro alla Scala - Nabucco . Action Director : : @operaction Artistic Team:
Riccardo Chailly/Alessandro Talevi/Gary McCann stunts : @showtalentnetwork

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A glimpse of our show in Nancy which we will take to Rennes in May #opera #operasingersofinstagram #operasingerlife #operalife #operalover

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Du 29 mars au 3 avril, ne manquez pas notre nouvelle production de 𝗖𝘂𝗿𝗹𝗲𝘄 𝗥𝗶𝘃𝗲𝗿 de Benjamin Britten.
Un chef-d’œuvre inspiré du théâtre Nô japonais, dirigé par @alphonsecemin et mis en scène par Silvia Costa (@lunastrudel) qui fait dialoguer ce récit avec la création mondiale 𝗜 𝗗𝗶𝗱𝗻’𝘁 𝗞𝗻𝗼𝘄 𝗪𝗵𝗲𝗿𝗲 𝗧𝗼 𝗣𝘂𝘁 𝗔𝗹𝗹 𝗠𝘆 𝗧𝗲𝗮𝗿𝘀 de Marko Nikodijević.

Réservez vite vos places 👉 opera-nancy.fr

1h40 sans entracte
de 5 à 85€

Collaboration à la composition musicale (I Didn’t Know…) | Jug Markovic

Orchestre de l’Opéra national de Nancy-Lorraine
Solistes du Balcon (@le.balcon)
Chœur d’hommes de l’Opéra national de Nancy-Lorraine

Avec Chelsea Lehnea, Zhengyi Bai, Mark Stone, Michael Mofidian, Thomas Day (élève au Trinity Boys Choir), Stephan Loges

Costumes | Camille Assaf
Scénographie | Michele Taborelli
Lumières | Marco Giusti
Dramaturgie | Simon Hatab
Assistanat à la mise en scène | Rosabel Huguet

Assistanat à la direction musicale | @renaudmadore

Nouvelle production | Opéra national de Nancy-Lorraine
Coproduction | @operaderennes

Vidéo - @artscopia

#Opera #CurlewRiver #operanancy #benjaminbritten

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💧 I Didn’t Know Where To Put All My Tears / Curlew River (Nikodijević / Britten)

Début des répétitions pour notre nouvelle production !

Un diptyque dirigé par Alphonse Cemin et mis en scène par Silvia Costa, avec Curlew River, opéra inspiré du théâtre Nô et imaginé comme la parabole d'une femme racontant la disparition de son fils, sa « folie » devenant peu à peu l’expression d’une force intérieure, et la création mondiale I Didn’t Know Where To Put All My Tears qui raconte les origines de la rivière mystérieuse.

À découvrir du 29 mars au 3 avril 👉 tinyurl.com/548zn7kw

Collaboration à la composition musicale (I Didn’t Know…) | Jug Markovic
Assistanat à la direction musicale | Renaud Madore
Costumes | Camille Assaf
Scénographie | Michele Taborelli
Lumières | Marco Giusti
Dramaturgie | Simon Hatab
Assistanat à la mise en scène | Rosabel Huguet

Ensemble vocal @le.balcon
Chœur d'hommes de l'Opéra national de Nancy-Lorraine
Avec Chelsea Lehnea, Zhengyi Bai, Mark Stone, Michael Mofidian, Thomas Day (élève au Trinity Boys Choir), Stephan Loges

Nouvelle production | Opéra national de Nancy-Lorraine
Coproduction | @operaderennes

Images de répétition

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ORFEO E EURIDICE
di C.W. Gluck
Regia e Coreografia
@danilorubecaopera
Scene
@domenico_franchi
Costumi
Alessio Rosati
Luci
Marco Giusti @cheljust

Coro e Corpo di Ballo del @teatromassimo

Nella foto di @rosellinagarbo
Orfeo @filippomineccia

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