Michela Gerosa

The Theater Season 2025-2026 Other Pathways Here come the So-and-so by and with Alessandro Bergonzoni Thursday, March 5 at the Donizetti Theater   Alessandro Bergonzoni, comedian and other actor, returns to Bergamo, and on Thursday, March 5, at the Donizetti Theater (8:30 p.m.), as part of the Donizetti Theater Foundation's Altri Percorsi series, he presents Here Come the So-and-so (Fry, Blue Sun and the Story of the Young Saracinesca), a show in which its protagonist traverses words like a tightrope walker with his very personal stylistic signature. Directed by Bergonzoni himself, who also signs the scenes, and Riccardo Rodolfi. The sequel to the highly successful Trascendi e Sali, seen in Bergamo in 2021, Arrivano i Dunque is a scenic, multifunctional venue where Bergonzoni continues his artistic research in the territories that in recent years have seen him actively participate firsthand in both artistic and social events. And if in this new show one wants to find another Bergonzonian figure, along with the comic writing of course, one has to look for it in "Crealtà," another of his inventions, which makes explicit, in a thought that becomes a neologism, the true moral tension of this unique artist: the attempt to recreate a reality that is not only no longer enough but that we can/should reinvent day by day in search of a future of absolute peace and definitively more welcoming to the thresholds of new perceptions and other meanings. This is how the Bolognese actor himself introduces his show: "An auction of thoughts. I look for the best (s)oferent to enchant the verse of things: perhaps of bird or poet. I start from the disproportionate, for the recast, with the conjunctionivite, I cross the misunderstand, to the disproportionate unity, between art and fate, fammingos and pyromaniacs, van Gogh and Bangkok, good and Mahler, blood out of hand and stigmata, stigmata and astigmatics, Dali to Allah. C'realtà. Lunire to the existing the atranuova san(t)itá, in our larvate fry. Grossomodo, following my extinct, preganti to continue infnire. I got carried away (married or saved from drowning?). Time presses, it's not always embrace, but rope or sheet. Just aface on the percipizio and hear lindimostrabiliante shamanumanesimo translated into exasperanto. The "èscatological" set design, the blue sun, the young portcullis on (hermetic because I mystery), altrista in an otherness where nothing happens without all. Is there little missing? Is so much useless? Not for nothing everything asks!" Alessandro Bergonzoni was born in Bologna in 1958. Artist, actor, author. Fifteen plays to his credit and six books. In cinema: Pinocchio (2001) by Roberto Benigni and Quijotet (2006) by Mimmo Paladino. For years he has written Aprimi Cielo on "Friday of the Republic" and The Thought of the Day on Robinson, since 2005 he has approached the world of art exhibiting in various galleries and museums. He combines his artistic career with a deep interest in social issues such as incarceration, immigration, illness and peace by holding meetings on these topics in various settings. He won the

Opera Family Rigoletto. The mystery of the theater directed by Manuel Renga Sunday, March 1 at the Social Theater   It is entitled Rigoletto. The mystery of the theater , from Giuseppe Verdi's masterpiece, the opera designed for children and young people ages 6 to 14 included in the Donizetti Theater Foundation's Season of Theaters: it will be staged Sunday, March 1, at the Teatro Sociale (5 p.m.), adapted and directed by Manuel Renga. Orchestra 1813 conducted by Giulio Arnofi. Sets and costumes by Aurelio Colombo. The opera is a production of AsLiCo, in co-production with Bregenzer Festspiele and is part of the Opera Domani project. Running time: 1 hour 10 minutes without intermission. Tickets: 10 euros, reduced under 14 euros 5 euros. The performance will be preceded by a workshop (3:30 p.m.) during which the audience can learn the choral interventions that will make them protagonists of the opera: the "Spectator's Kit" can be consulted on the Donizetti Theater website. "Rigoletto. The mystery of the theater recounts how, through theater, magic can be created: wonderful and dangerous stories come to life with a simple play of light, just as a firefly illuminates the darkness," Manuel Renga says in the director's notes, "We are in the 1920s. The Compagnia del Duca, a group of itinerant thespians, brings Rigoletto to the stage every night, amid joys and sorrows, revenge and forgiveness, until the inevitable meeting with death. With a few elements and the secrets of theater, they transform each stage into a new world, where everything is fake, but nothing is false. The old actor plays Rigoletto, the court jester who, after taunting Monterone, suffers his curse. His daughter Gilda, longing for freedom, falls in love with the Duke, who pretends to be a student. Deceived and kidnapped by the courtiers, she will end up sacrificing herself for love, leaving Rigoletto in despair. For the Compagnia del Duca, each performance is an act of creation and sacrifice, where fiction becomes reality, and theater is confirmed as an eternal art." In the mornings and afternoons of Monday, March 2 and Tuesday, March 3. Rigoletto. The mystery of the theater will be represented for schools: 2,272 students are expected from schools in the provinces of Bergamo, Brescia and Monza Brianza. Director and playwright, Manuel Renga has collaborated with the Fondazione Teatro Donizetti on several occasions: for Opera Family he edited the dramaturgies of Chiara o Serafina? Or how Gaetano Donizetti and Felice Romani wrote, in a short time and with not a few squabbles, a pirate opera with a thousand endings (2022), Luce di Lammermoor (2023), Don Paquale. The great game of love (2024), Il furioso Gaetano nell'isola di S. Domingo, ovvero le mirabolanti memorie d'un musicista visionario (2025). In November 2025, as part of the Donizetti Opera festival, he signed the direction of Il furioso nell'isola di S. Domingo.

The Jekyll Case with Daniele Russo directed by Sergio Rubini February 21 to March 1 at the Donizetti Theatre   The Donizetti Theatre Foundation's Prose Season 2025-2026 continues with a title that evokes a famous novel that explores the dualism between good and evil, Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, of which there are countless adaptations for film, television and theater. And a man of cinema and theater, but also television, such as Sergio Rubini signs the direction, as well as the adaptation of the original text together with Carla Cavalluzzi, of The Jekyll Case, scheduled at the Donizetti from Saturday, Feb. 21 to Sunday, March 1 (Monday, Feb. 23, rest). In the title role will be Daniele Russo, with Geno Diana and Pierluigi Corallo and with Sergio Del Prete, Angelo Zampieri and Alessia Santalucia. Sets by Gregorio Botta. Costumes by Chiara Aversano. Lighting design by Salvatore Palladino. Sound design by Alessio Foglia. Production Fondazione Teatro di Napoli - Teatro Bellini, Marche Teatro and Teatro Stabile di Bolzano. Duration 2 hours without intermission. Showtimes: 8:30 p.m., Sunday, Feb. 22 and March 1, 3:30 p.m. Ticket prices: from 15 to 45 euros, reduced from 12 to 36 euros. Sergio Rubini presents the idea of the show in his director's notes as follows: "Starting from the consideration that Stevenson's famous novel The Strange Case of Dr. Jekyll and Mr. Jekyll. Hyde is an apologia on the human condition having as its central theme the double, which then is the double that dwells in each one of us, we developed a dramaturgy that had a more clearly psychoanalytic key, closer to those theories that developed almost half a century after the publication of Stevenson's tale, and that had the greatest expression in the scientific landings first of Freud, then of Jung. Our text, in fact, stripped of any allegorical solution used by Stevenson and which gives the fantastic character to the whole story, chief among them the metamorphosis of Jekyll into Hyde through a chemical experiment, the so-called "potion," is rather a journey into the unconscious in this case of a famous medical luminary, Henry Jekyll, who aspiring to the identification of what are the causes of mental illness, makes himself a guinea pig and then becomes a victim of his own theories, pulling out of the cave of the conscious what is hidden to him, his shadow, his Hyde." "It is clear from this that the story from which we started is in fact only inspiring a story closer to the issues of our contemporary times that offers the viewer the opportunity not only to mirror himself in what are the dangers but also the pleasures that spring from his own shadow, but also to be a food for thought on the need to dialogue with one's unconscious, to bring it out and share it with the community despite society's tendency to repress everything outside the canon that often coincides instead with the authentic, to prevent

Deserance a Circo Zoé show Thursday, February 19 at the Donizetti Theatre They call themselves "acrobats, musicians, philosophers, but first and foremost dreamers, creators, visionaries and fearmongers": they are the members of the international but Bergamo-rooted company Circo Zoé, who on Thursday, Feb. 19, bring to the Donizetti Theater (8:30 p.m.) the show Deserance, one of the seven stages of Altri Percorsi, the Donizetti Theatre Foundation's review dedicated to research theater. On stage: Simone Benedetti, Anouck Blanchet, Adrien Fretard, Maria Reis, Chiara Sicoli and Gael Manipoud. Music by Jean Stengel and Diego Zanoli. Singing Irene Geninatti. Circo Zoè production, co-production Théâtre + Cinéma Scène Nationale du Grand Narbonne, Teatro Asioli Correggio, Le Pôle La Seyne sur Mer. Duration 1 hour 30 minutes without intermission. Tickets: full 25 euros, reduced 20 euros "Deserance-as the company itself notes-awakens the archetype of the journey. The intimate and desperate quest to make what we think and desire adhere to the vulnerability of our experiences. The bodies recount the loneliness of uniqueness, the abandonment of one's defenses through an encounter with the other, suspended and dizzying as a waltz for two, the primordial belonging of a whole when self-affirmation emerges from the magma of bodies. The voice, through a repertoire of ancient music, leads and guides like Charon the travelers in search of their personal history through which they seek the origins of a vital sigh. Singing, in its most formal expression represented by the operatic voice, is set free through dialogue with contemporary sonorities that enliven and sustain the journey." "Deserance is an incubator of states of mind gathered in a word. It takes shape through the plurality of meanings it contains, a collection of identities and visions that take on a specific meaning only when together. Desire is the engine that starts from the body, visceral, in a certain sense innate. A creative urgency necessary to keep alive the feeling that justifies a choice of life always on the edge with oneself. Deserance contains within itself wandering, absolute mistress of the Company's life. Indomitable and uncontrollable movement that has always led wayfarers and pilgrims in search of meaning, of an immanent purpose. A state of probable restlessness that renews itself, questions itself about the profound change of one's choices and will. And finally, resistance, that sacrificed self that finds so much space on stage but in everyday life is compromised and subordinated to the collective. That resistance, moreover, to external or internal events that cyclically demand confirmation and reaffirmation of choice." The Circo Zoé company was formed through a network of acquaintances and friendships linked by a passion for entertainment and in particular for circus. The first encounters took place in the social and street theater sphere right in Bergamo; contacts then expanded to Turin, to the Cirko Vertigo School, and later to the Académie Fratellini in Paris. In 2012 he debuted his first show Zoé at the Astra Theater in Turin. From there an international tour that took them to the Karacena

St. Petersburg and the avant-garde with Paolo Nori Saturday, February 14, 2026 at Donizetti Theater last meeting   Saturday, Feb. 14, at 11 a.m., at the Donizetti Theater, concludes the third edition of the Lessons in History organized by the Donizetti Theater Foundation in collaboration with Editori Laterza and with the support of BCC Oglio e Serio. The stimulating journey through the Cultural Capitals, which previously stopped in Athens, Venice, Constantinople and Rome, lands in St. Petersburg, cradle at the beginning of the last century of seminal artistic avant-garde. The writer and translator Paolo Nori, deep connoisseur of Russian culture, finalist for the Strega Prize 2025. Russian culture and literature have found particularly fertile ground in St. Petersburg, giving birth in the few decades since its founding in the early 18th century to a dizzying succession of writers who have authored extraordinary novels. From the founding poem of Russian culture, Aleksandr Sergeevič Pushkin's Eugene Onegin, to the masterpieces of Dostoevsky, Gogol, Tolstoy, and Lermontov to, precisely, the avant-garde movements of the last century. Paolo Nori is the ideal narrator to tell the story of the St. Petersburg of the October Revolution with a highly original look, as well as with a surprising and unique style, which above all brings out the resonances that that world continues to have today. Paolo Nori lives in Casalecchio di Reno and is the author of numerous books. Among his publications: Russians are crazy. A synthetic course in Russian literature 1820-1991 (Turin 2021, new edition 2022); Bleeding again. The Incredible Life of Fyodor M. Dostoyevsky. (Milan, 2021) and Vi avverto che vivo per l'ultima volta (Milan, 2023) and Chiudo la porta e urlo (Milan, 2024), a finalist for the Premio Strega 2025. For Laterza, he is the author of. We are then delicate people. Bologna Parma, ninety kilometers (2007), Baltic 9. Guide to the mysteries of the East (with D. Benati, 2008), The Words without the Things (2016), A Night at the Russian Museum (2024).

Lysistrata with Lella Costa directed by Serena Sinigaglia From February 7 to 15 at the Donizetti Theatre National premiere of the new version of the play   Lysistrata, one of the most anticipated titles of the Donizetti Theater Foundation's Prose Season 2025-2026, is coming to Bergamo's main city theater from Saturday, Feb. 7 to Sunday, Feb. 15, for no less than nine continuous performances. The play, which stars Lella Costa, a beloved actress for audiences in Bergamo and beyond, was performed to great acclaim last summer at the Greek Theater in Syracuse and is now being offered in a new version on a long national tour that kicks off right from Teatro Donizetti. It is directed by Serena Sinigaglia, who also supervised the adaptation of Aristophanes' text, translated by Nicola Cadoni, together with Emanuele Alrovandi. Alongside Lella Costa will be on stage Marco Brinzi, Francesco Migliaccio, Stefano Orlandi, Maria Pilar Pérez Aspa, Giorgia Senesi and Irene Serini.   A meeting with Lella Costa herself and the company is scheduled for Thursday, Feb. 12, at 6 p.m. at the "Tremaglia" Music Room of the Donizetti Theater. Coordinated by Maria Grazia Panigada, Artistic Director of the Prose Season and Other Paths.   Written by Aristophanes in the fifth century B.C., Lysistrata is one of the most famous comedies of antiquity, but its satirical force and message remain strikingly relevant today. Underlying it is a terribly serious premise: war, the ongoing, cyclical destruction of humanity that never seems to find an end. Lysistrata is not just a play. It is a provocation, an act of rebellion disguised as laughter. Aristophanes' heroine has the stature of a tragic figure, determined to restore life where death reigns, love where hatred reigns. In an age like ours, marked by new conflicts and old tensions, her voice returns with overbearing urgency. A number of educational projects promoted by the Donizetti Theater Foundation are underway on the themes of Lysistrata , involving more than 1,000 secondary school students. Observes Serena Sinigaglia in the director's notes of her Lysistrata: "It rarely happens in our contemporary world to be able to give time, continuity, in short duration, to a path. Everything is consumed at the speed of light, in a productive vortex, at least in appearance, unstoppable. That's why this Lysistrata represents for me and for the cast and collaborators a precious opportunity to continue a path, to deepen it, to transform it over time. After the happy and extraordinary experience of the summer staging for the Greek Theater in Syracuse, the challenge was to be able to make it a tour show, capable of adapting to any space. What to remove and what to keep? The Greek Theater in Syracuse is unique in the world: 5,000 spectators, an open-air amphitheater of rare and ancient beauty. I had to go to the heart, to the synthesis of the work done. In themes and forms. Let's start with the themes that the play addresses with the hilarious force of laughter and

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