Michela Gerosa

HISTORY LESSONS 2026 Cultural capitals Rome, city of the gods with Maurizio Bettini Saturday, February 7, 2026 at the Donizetti Theater   After Athens, Venice and Constantinople, the journey between the Cultural Capitals of the third edition of Lessons in History, an event organized by the Donizetti Theater Foundation in collaboration with Editori Laterza and with the support of BCC Oglio e Serio, makes a stop in Rome, "The City of the Gods." In fact, Saturday, Feb. 7 at 11 a.m. there will be a meeting with Maurizio Bettini, professor of classical philology at the University of Siena, who will offer a glimpse of ancient Rome from the perspective of an authentic religious laboratory. The meeting will be introduced by journalist Max Pavan, head of information for Bergamo TV. Maurizio Bettini's talk starts from afar, from Jupiter, Juno, Venus, which today can still be "seen" in the splendid forms of the statues that adorn museums; but they are now only works of art, not living objects of worship. Yet such literary and figurative figures were once, before the advent of Christianity, powerful deities, honored in Rome by solemn rituals. Above all, however, the Romans' conception of religion-a complex system deeply integrated into civic life-still has much to teach modern culture. To reread Roman religion today is not to look back with nostalgia, but to question what it can still teach: the value of limit, ritual and community as foundations of coexistence. Maurizio Bettini, classicist and writer, is director of the Anthropology and Ancient World Center at the University of Siena. From 1992 to 2018 he taught seminars at the Department of Classics at the University of California at Berkeley, in 2017-2018 as Sather Professor. He was several times Directeur d'Études associé at the École des Hautes Études in Paris and taught at the Collège de France. His main field of study is anthropological reflection on Greek and Roman culture, often in relation to the experience of modernity. Recent volumes published include. Homo sum. Being human in the ancient world. (Turin 2019); Wrong forest. The fury of identity (Bologna, 2020); Mythic Knowledge (ed., (Turin, 2021); Rome, city of the word, (Turin, 2022); Who is afraid of the Greeks and Romans? (Turin, 2023); For a point Orpheus lost his cloak (Bologna, 2024); Arrogant humanity. Classical myths and global warming. (Turin, 2025). The History Lessons will conclude on Feb. 14 with Paolo Nori, who will send back with memory and words to the St. Petersburg of the October Revolution: a hotbed of novelty, an unrepeatable ferment that, in the intermingling of the new socialist ideology and the artistic avant-gardes, will radiate throughout Europe.

BERGAMO JAZZ 2026 Artistic Direction by Joe Lovano "Setting The Pace: Miles & Trane 100th Celebration! The complete program of the 47th edition March 19-22, 2026 Concerts in theaters, museums and venues around the city Meetings with cinema and art, lectures-concerts for schools Concerts in theaters, museums, venues, encounters with the visual arts, lessons-concerts for schools: after announcing last October the appointments at Teatro Donizetti and Teatro Sociale, the Fondazione Teatro Donizetti now presents the complete program of the 47th edition of Bergamo Jazz, which for four days, from March 19 to 22, will spread the thousand sounds of jazz throughout the city. The Festival is organized with the support of the City of Bergamo, MIC-Ministry of Culture, private sponsors and as usual sees the collaboration with numerous institutions and associations in the area, Setting The Pace, dictating the pace or setting the pace, is the title chosen by Joe Lovano, for the third time Artistic Director of Bergamo Jazz, in highlighting an extraordinary anniversary: the centenary of the birth of Miles Davis and John Coltrane, seminal and iconic figures in African-American music and culture. Keeping true to its nature, Bergamo Jazz 2026 will also be a festival with an international scope, a mirror of the many souls that cohabit in the world of jazz music, between references to tradition and innovative projections. More than 80 guest artists, with a significant representation of Italian musicians, including many young talents, and a consolidated presence of jazz conjugated to women. It will be a widespread festival-with important new locations-that will bring jazz music into contact with the fabric of the city, infecting it with its spirit of adventure, with its universal message of peace and dialogue between different peoples. A timely and necessary message, especially in complex times like the ones we are living. Jazz at Donizetti On Friday, March 20, the first of three subscription evenings at Teatro Donizetti, beginning at 8:30 p.m., beloved by both Bergamo residents and those from all over Italy and beyond, will be opened by the duo formed by double bass ace Dave Holland and Lionel Loueke, one of the most innovative guitarists to appear on the jazz scene in recent decades. Holland and Loueke will serve as "openers" for Steve Coleman and his Five Elements: the Chicago saxophonist will return to Bergamo exactly 20 years after his previous performance to offer his well-rehearsed blend of visionary funk in which the most imaginative improvisation is interpenetrated with rigorous compositional structures. The next evening, Bergamo Jazz 2026 will offer for listening one of the groups of the moment, Bad Plus, in a special edition that will feature its two founding members, bassist Reid Anderson and drummer Dave King, joined by saxophonist Chris Potter and pianist Craig Taborn, or two other giants of contemporary jazz in their respective instrumental specificities. Central to the quartet's music will be compositions written by Keith Jarrett for his glorious American Quartet, the one in which the Allentown pianist dialogued with Dewey

Donizetti Theatre Foundation The Theater Season 2025-2026 Other Pathways The fu Mattia Pascal from the novel by Luigi Pirandello with Giorgio Marchesi February 5-7 at the Social Theater   Altri Percorsi, the Donizetti Theatre Foundation's review dedicated to research theater, increases the number of performances on the occasion of The fu Mattia Pascal: the play based on Luigi Pirandello's novel, brought to the stage by Giorgio Marchesi, will in fact have five performances at the Teatro Sociale on Feb. 5 and 6 (matinee, 10:30 a.m., and evening, 8:30 p.m.) and in the morning of Feb. 7 (10:30 a.m.). The Bergamasque actor signs both the adaptation and, together with Simonetta Solder, the direction. Il fu Mattia Pascal, written and published in 1904, was Luigi Pirandello's first highly successful novel.Giorgio Marchesi's theatrical version exudes energy and irony, starting with Pirandello's own phrase, "I can say that since then I have made a taste of laughing at all my misfortunes and all my torments." "It was precisely the words that Pirandello makes his protagonist say that suggested to us the key to telling the story of Mattia Pascal," the actor comments in the director's notes, "We wanted to experiment with a language that could be accessible and palatable to everyone, even and especially to the new generations. Aiming to move away from the dusty view mistakenly associated with some literary masterpieces, we chose a vital, dynamic and amused point of view of this 'really strange case.' Together with Raffaele Toninelli, who created a musical dramaturgy on the text, we created an unrealistic atmosphere. We did not want to set the text precisely in the early years of the last century, we preferred to translate it and drag it along the 1900s to go along with the contemporary nature of the themes dealt with in the work: the relationship with one's identity, today multiplied by the many "profiles" we now use daily to communicate on social networks. But also rebirth, after the disruption of our lives during the pandemic." Hence "the idea was born to propose the story of Mattia Pascal and Adriano Meis to the audience, allowing us the freedom to play with these two characters and emphasizing the humor present in the text, while leaving the original style and language intact. Because a text, even if a classic, remains a pre-text for communicating with the audience. And given the historical moment, better to do it lightly," Giorgio Marchesi concludes. At the end of each of the five performances, there will be a meeting with Giorgio Marchesi, coordinated by Maria Grazia Panigada, Artistic Director of the Prose Season and Other Pathways.

Concluding the Opera&Concerts section of the 2025-2026 Theater Season of the Donizetti Theater Foundation goes on stage on Friday, January 30 at 8 p.m. and Sunday, February 1 at 3:30 p.m., one of the absolute most beloved operatic titles by the general public: Carmen. Georges Bizet's masterpiece will be staged in the new production by the OperaLombardia Theaters (Grande di Brescia, Ponchielli di Cremona, Fraschini di Pavia, Sociale di Como, Donizetti di Bergamo), produced on the occasion of the 150th anniversary of the first performance, in co-production with the Teatro Comunale "Pavarotti-Freni" in Modena, the Teatro Municipale di Piacenza, and the Teatro "Dante Alighieri" in Ravenna. Directed by Stefano Vizioli, with musical direction by Sergio Alapont, a specialist in the French repertoire on the occasion conducting the Orchestra I Pomeriggi Musicali, sets by Emanuele Sinisi, costumes by Annamaria Heinreich and lighting by Vincenzo Raponi, this new edition of Carmen boasts a first-rate artistic cast. Emanuela Pascu and Emilia Rukavina will alternate in the title role, while Roberto Aronica will take on the role of Don José, sharing it with tenor Joseph Dahdah. Rocio Faus and Alessia Merepeza will take turns bringing to life the character of Micaëla, and Gianluca Failla will be Escamillo. Completing the cast are the voices of Aoxue Zhu (Mercédès), Soraya Mencid (Frasquita), Paolo Ingrasciotta (Moralès), Nicola Ciancio (Zuniga), William Allione (Dancairo) and Enrico Iviglia (Remendado). OperaLombardia Chorus conducted by Diego Maccagnola. Children's voice choir I Piccoli Musici directed by Mario Mora. The opera will be sung in the original language with Italian surtitles. On Thursday, Jan. 29 at 6 p.m., at the "M. Tremaglia" Music Room of the Donizetti Theater, the two performances will be preceded by a meeting entitled: Danger No. 1: the Woman! Obsessions and possessions of a male in Bizet's Carmen. Speakers: Paolo Fabbri and Livio Aragona of the Donizetti Studies Center of the Donizetti Theater Foundation. Iconographic selection by Clelia Epis and Maurizio Merisio. Free admission with reservations on Eventbrite Represented on stages all over the world and whose arias are instantly recognizable by melomaniacs and novices alike - think of L'amour est un oiseau rebelle (Habanera) - Carmen is a symbolic opera about the quest for the freedom to love, a plastic depiction of the gender violence that results from overwhelming passion. The opera was initially under-appreciated and found fortune only after the death of its composer: its Paris premiere debut on March 3, 1875 at the Opéra-Comique, did not, in fact, meet with public approval, scandalized by the scabrous tale told, but after a few months in Vienna-unfortunately after its author had passed away prematurely-it finally found the success that made it immortal in the history of music. For Stefano Vizioli, the one at the Teatri di OperaLombardia is his first Carmen as director: "Although I often played it when I was accompanist on the piano, I have never entered, even as assistant director, into the scenic dynamics of such a complex score. So I personally experience a reunion

HISTORY LESSONS 2026 Cultural capitals Third meeting Constantinople, the new Rome with Alessandra Bucossi Saturday, January 24, 2026 at the Donizetti Theatre Constantinople, the New Rome is the title of the next event in the third edition of Lessons in History, an event organized by the Donizetti Theater Foundation in collaboration with Editori Laterza and with the support of BCC Oglio e Serio. Starting with Athens and continuing with Venice, the journey among the Cultural Capitals now makes a stop, Saturday, Jan. 24 at the Donizetti Theater (11 a.m.), in the capital of the Eastern Roman Empire. Alessandra Bucossi, professor of Byzantine Civilization at Ca' Foscari University of Venice, will trace its origins and development as the cradle of the Ottoman Empire. Founded as the "new Rome" by Emperor Constantine in 330 A.D. on the ancient Greek city of Byzantium, Constantinople inherited models and symbols from the Urbe, but reworked them profoundly in a confrontation that would unfold for centuries between imitation and conflict. In the Byzantine gaze, Rome is both mother and adversary: a tension between loyalty and rejection that marked the cultural and political history of Europe throughout the Middle Ages and beyond. Alessandra Bucossi teaches Byzantine Civilization at Ca' Foscari University in Venice, where she has been working since 2014. A philologist by training, she works on Byzantine polemical literature (9th and 13th centuries), a still little-studied production that arose in the context of the rift between the Church of Rome and the Church of Constantinople. She has published two landmark critical editions in the prestigious Corpus Christianorum series (Brepols), devoted to key texts of the 12th century: Andronicus Camatero's Sacred Arsenal, hitherto unpublished, and the Dialogues of Nicetas of Thessalonica, made available in complete form for the first time. She is the editor of three collections of essays on Byzantine history, philology and religious history, and the author of scholarly articles devoted to various aspects of Byzantine polemical literature. She devised the first systematic repertory of Greek, Latin and Slavic polemical literature. Lessons in History will continue on Feb. 7 with Maurizio Bettini and Rome, city of the gods, to conclude the journey among the Cultural Capitals on Feb. 14 with Paolo Nori who will shine the spotlight on St. Petersburg and the avant-garde. All meetings begin at 11 a.m. and are introduced by journalist Max Pavan, Bergamo TV news director. At the end of each meeting, the authors will stop with the audience for a firmacopie at the Theater's Ridotto Gavazzeni.

HISTORY LESSONS 2026 Cultural capitals Second meeting: Venice and the dawn of books with Alexander March the Great Saturday, January 17, 2026 at the Donizetti Theatre   Launched with great success - 1,190 attendees - by Laura Pepe and her Athens of Pericles, the journey through the Cultural Capitals of the third edition of the Lessons in History, an event organized by the Donizetti Theater Foundation in collaboration with Editori Laterza and with the support of BCC Oglio e Serio, now makes a stop in Venice, a city that in the midst of campi, campielli and calli was the cradle of publishing: on Saturday, January 17 (11 a.m.) at the Donizetti Theater, journalist, historian and writer Alessandro Marzo Magno will speak about it. Although it was invented in Germany, movable type printing developed in Italy, particularly in Venice precisely, which in the 16th century became the undisputed capital of publishing. Half of the European editions and three-quarters of the Italian ones were published in Venice: the first Greek book in history, the first Armenian book, the first Bible in the Italian vernacular, the first Talmud, the first Koran in Arabic, the first illustrated medical book and the first pornographic book were printed in the lagoon. Alessandro Marzo Magno, Venetian by birth and Milanese by work, graduated in history from the University of Venice "Ca' Foscari." His dissertation James Pattison, Venetian artillery and artillerymen in the 18th century was awarded in 1990 by the Italian Society of Military History. A journalist, after being the foreign editor of the weekly "Diario" for almost ten years, he collaborates with "Il Gazzettino." He has written books on historical subjects, some of which have been translated into many languages. For Laterza he is the author of. The splendid. Venice 1499-1509 (2019), The inventor of books. Aldo Manuzio, Venice and his time (2020), Venice. A history of sea and land (2022), Casanova (2023) and History of Venice in Ten Naval Battles (2025). History Lessons will continue on January 24 with Alessandra Bucossi who will address the topic. Constantinople, the New Rome, where the first city stands for the emblem of cosmopolitanism, unparalleled witness to the cultural transfers between East and West that are at the origin of the Byzantine world. Rome, city of the gods will instead be the focus of the Feb. 7 meeting with Maurizio Bettini: a still "pagan" Rome, creator of unprecedented religious suggestions mediated by the customs of the Italic peoples and the Greek tradition. Finally, on Feb. 14, the spotlight will be on. St. Petersburg and the avant-garde, with Paolo Nori who will go back with memory and words to the St. Petersburg of the October Revolution: a hotbed of novelty, an unrepeatable ferment that, in the mingling of the new socialist ideology and the artistic avant-gardes, will radiate throughout Europe. All meetings will begin at 11 a.m. and will be introduced by journalist Max Pavan, Bergamo TV news director. At the end of each meeting, the authors will stop with

BERGAMO JAZZ 2026 Artistic Direction by Joe Lovano Beginning Wednesday, Jan. 14 the sale of new subscriptions to the three evenings at the Donizetti Theater and tickets for the two concerts at the Teatro Sociale Tuesday, Jan. 20 presentation of all other events It's countdown time for the 47th edition of Bergamo Jazz, the third under the Artistic Direction of renowned American saxophonist Joe Lovano. And it's time for the season ticket campaign: in fact, from Wednesday, January 14, new season tickets can be purchased for the three evenings scheduled at the Donizetti Theater from March 20 to 22 and tickets for the two concerts hosted at the Teatro Sociale on the evening of Thursday 19 and in the afternoon of the 22nd. From Wednesday, January 28, tickets will then go on sale for the individual evenings in the city's main theater and for the other events that will spread the thousand sounds of jazz throughout the city for four days. Subscriptions and tickets can be purchased at the Donizetti Theater Box Office and online, on the Vivaticket circuit. Tuesday, Jan. 20, at 3 p.m. in the Music Room "Tremaglia" is scheduled to present to the press and the public the full program of the Festival, which will again this year enter prestigious museums and other theaters, also devoting attention to young people, with meetings curated by the Educational Center Music Production and the review "Sparks of Jazz." Unfailingly faithful to the Festival's natural international vision, the 2026 edition of Bergamo Jazz will be in the wake of an extraordinary anniversary: the centenary of the birth of Miles Davis and John Coltrane, pillars of African-American musical and cultural expressiveness, masters of an artistic thought that is more alive today than ever before. Jazz at Donizetti On Friday, March 20, the first of three subscription evenings at Teatro Donizetti, beginning at 8:30 p.m., beloved by both Bergamasks and those from all over Italy and beyond, will be opened by the duo formed by double bass ace Dave Holland and Lionel Loueke, one of the most innovative guitarists to appear on the jazz scene in recent decades. Holland and Loueke will serve as "openers" to the concert by Steve Coleman and his Five Elements: the Chicago saxophonist will return to the Donizetti stage exactly 20 years after his previous performance to offer his well-rehearsed blend of visionary funk in which the most imaginative improvisation is interpenetrated with rigorous compositional structures. The next evening, Bergamo Jazz will offer for listening one of the groups of the moment, Bad Plus, in a special edition that will feature its two founding members, double bassist Reid Anderson and drummer Dave King, joined by saxophonist Chris Potter and pianist Craig Taborn, or two other giants of contemporary jazz in their respective instrumental specificities. Central to the quartet's music will be compositions written by Keith Jarrett for his glorious American Quartet, the one in which the Allentown pianist dialogued with Dewey Redman, Charlie Haden and Paul Motian.

After opening in December with a tribute to the comic art of Gilberto Govi's Pignasecca and Pignaverde, the Donizetti Theatre Foundation's Prose Season 2025-2026 gets into full swing: from Saturday, January 17 to Sunday, January 25, with the exception of Monday, January 19, the main city theater will stage Crisis of nerves. Three one-acts by Anton Čechov signed by German Peter Stein, one of the most distinguished protagonists of contemporary theater who won the Le Maschere 2024 Prize and the Flaiano 2025 International Prize for directing this play. The adaptation of the original text is by Peter Stein himself and Carlo Bellamio. Performers: Maddalena Crippa, Alessandro Sampaoli and Sergio Basile(The Bear), Gianluigi Fogacci(The Tobacco Damage), Alessandro Averone, Sergio Basile and Emilia Scatigno(The Marriage Question). Renowned German director Peter Stein directs an extraordinary company by staging Crisis of Nerves. Three One-Acts by Anton Čechov and returns to one of his landmark authors by creating an unconventional artistic mode of production around a group of actors who take turns in the various plays, which Čechov himself not yet 30 years old called "stage jokes." Written between 1884 and 1891, these one-act plays were inspired by French comedy and vaudeville, genres that were very much in vogue in France at the time of Chekhov. Over time, they have captivated audiences around the world and have become a valuable source of inspiration for actors, writers and directors, as well as irresistible entertainment for entire generations of spectators. Peter Stein himself writes in the director's notes, "After the failure of his first two plays, the young Chekhov vowed never to write for dramatic theater again and decided to devote himself exclusively to vaudeville. This circumstance gave us a series of one-act plays, full of sarcasm, paradoxical comedy, extravagant absurdity and mad cruelty, and which in turn became the fertile ground for the experience and preparation of the great works of the author's maturity. In the three exemplary works we present, the characters from time to time get into fits of nerves, fall ill, fall prey to hysterical attacks, or quarrel with each other constantly. InThe Bear, the protagonist nearly dies of rage over a debt he is not repaid by a woman, whom he goes so far as to challenge to a duel, only to end up on his knees asking her to be his wife. InThe Harm of Tobacco, a supposed speaker is to give a lecture on the negative effects of tobacco, but amid sneezing and asthma attacks, he actually confesses that he wants to end the disastrous life he leads as his wife's husband. InThe Marriage Question, the groom-to-be, due to shyness and other physical difficulties, fails to ask the bride-to-be the fateful question, and instead gets into an argument with her, who in turn retorts to him with a sour face and is prey to a hysterical attack when he falls unconscious from hypochondria. The extreme comedy, exasperation and excesses of cruelty used by the author can only work if accompanied

Carrozzeria Orfeo returns to Bergamo, again for the Donizetti Theatre Foundation's Altri Percorsi series: after Miracoli Metropolitani, set in an old auto body shop adapted as a kitchen and presented at the Teatro Sociale in 2023, the Upper City theater hosts Thursday, Jan. 15 (8:30 p.m.) We will save the world before dawn, a show that unfailingly reflects the company's unprejudiced and brilliant spirit. The show is not suitable for audiences under the age of 14. We'll Save the World Before Sunrise is an account of the lives of some of the guests in a luxury rehabilitation clinic located on a satellite in space, a new tourist destination for the super-rich, specializing in the treatment of contemporary addictions-sexual, emotional, work, psychotropic drugs. They are all victims of these and their own selfishness, products of a world where words like community and kindness are almost entirely banished except to be exploited for propaganda and commercial purposes. What is left is a confused and frightened humanity, overwhelmed by the obsession with this constant having to sell yourself, with the terror that no one will ever want to buy you. "After having explored in several shows the world of the last, the outcasts, the excluded and the losers, in this new production we intend to investigate the world of affluence and apparent success, through the narrative of the first, the winners, the ruling class, the rich, paradoxically, however, imprisoned in the same vortex of asphyxiating responsibilities, castrating duties, guilt and unhappiness that belong to everyone and, therefore, shattered by everything that the capitalist mentality cannot buy: self-love, purity of feelings, sincere affections, the search for authentic meaning in existence," Gabriele Di Luca specifies in the dramaturgy notes. All of this is explored in full Carrozzeria Orfeo style, "thanks to an eye that is always lucid and, perhaps, disillusioned, which intends to capture, with irony and even extreme fun, the paradoxes, contradictions and grotesque deformations of reality through characters overflowing with humanity, irony and pain. The show, after all, wants to tell about a society that is increasingly sad, yet, saturated with happy pictures in which there no longer seems to be a place where we can recognize ourselves as authentic subjects, let alone in social projects that require our dedication and loyalty." Carrozzeria Orfeo, formed in Mantua in 2007, has since its inception expressed its creative urgency inspired by a strongly "Pop" artistic ideal, popular, in the highest sense of the term; that is, a theater that thinks of the spectator from its conception and writing, with stories that wish to trigger reflections on the present in order to investigate, not without depth and fun, the crucial nodes of human existence. The company's primary need is to offer theater that is adherent to the themes of reality precisely in order to problematize anthropologically foundational nodes and intercept the most fragile intimacy of the spectators. The goal is to bring more and more audiences to the theater, demonstrating that civic and social engagement can

Operetta Season 2026 The Merry Widow with the Corrado Abbati Company Sunday, January 11 at the Donizetti Theatre The Operette Season 2026 of the Donizetti Theater Foundation is just around the corner: on Sunday, January 11 (3:30 p.m.) the first of three titles on the bill is scheduled at the city's main theater, The Merry Widow, a classic of the operetta repertoire brought to the stage on this occasion by the Compagnia Corrado Abbati. An operetta in three parts by Franz Lehár to a libretto by Victor Léon and Leo Stein based on the play L'Attaché d'ambassade by Henri Meilhac, The Merry Widow is still one of the most performed shows in the world. And if it still fills theaters today and audiences enjoy it and applaud warmly, something special must be wrong with it. The Merry Widow is, in fact, a myth that despite its age shows no wrinkles. Built on fertile musical inventiveness, with iconic songs such as the march "Women, women eternal gods...," the operetta rests on the sympathy of a text steeped in themes that are still relevant today: power, money, jealousies, love. Compagnia Corrado Abbati's edition makes the most of the innate theatrical sense and dynamic narrative that distinguish the performances of the director and actor who directs it, as well as a colorful staging that highlights the elegance of Lehár's music with its iridescent, romantic hues and frenzied rhythmic jubilation. Starting from the term "lightness" given by Italo Calvino in the first chapter of the American Lectures, namely "lightness as a reaction to the weight of living," and aware that in the collective imagination the term "operetta" is combined with the term "smile," the director's intention in this edition of The Merry Widow is not to deny what is the typical characteristic of operetta: the desire for reassuring emotions. The work was, therefore, to create a show capable of arousing cheerfulness, as, moreover, was the intention of the author who scattered The Merry Widow with many cues on a diplomatic plot, where secret desires and erotic or political interests are not hidden and are resolved to the rhythm of a waltz but also of a can-can. A rhythmic sweep that the director has taken into account, recreating a sense of elegance and balance of the theatrical machine, capable of capturing the jubilant and irrational momentum of joyous escapism. Also capable of arousing enthusiasm and desire to party together, breaking down the fourth wall to foster exchange and empathy between hall and stage.   Plot At the Pontevedro embassy in Paris, there is great excitement. Mrs. Anna Glavari, the young widow of the very rich court banker, is arriving. The ambassador, Baron Zeta, has been instructed to find a Pontevedrian husband for the widow, and this is to keep the lady's millions in dowry, back home. For if Mrs. Glavari were to pass into a second marriage with a Frenchman, her capital would leave the Pontevedrian National Bank and it would be economic ruin for