Michela Gerosa

Maestro Riccardo Frizza, internationally renowned conductor and former music director of Donizetti Opera since 2017, who was also appointed artistic director of the event last Dec. 4 by the Fondazione Teatro Donizetti Board of Directors, announces his vision for the festival for the three-year period 2025-2027. Under the sign of the word "evolution," Maestro Frizza intends to continue the path taken in recent years with an innovative vision that combines continuity and the future. If the event previously inaugurated its format by renewing its artistic programming and invading the city with the figure of Donizetti as an illustrious Bergamasque, it now aims for an evolution that brings the composer Gaetano Donizetti back to the center, the absolute protagonist, accompanied by a cultural project that aspires to consolidate the festival's position among major international events. Six fundamental guidelines will direct the event over the next three years, starting with internationality and high artistic quality, for a festival without borders. The Donizetti Opera, in fact, intends to strengthen and expand its international dimension, focusing even more on artistic quality and musicological research, to place itself among the great events of the world cultural scene. Productions of the highest level and an active dialogue with audiences beyond the borders will make the festival a point of reference for enthusiasts and experts in the field, but also for neophytes and the curious who will want to get closer to the corpus of the famous composer from Bergamo, attracted by the collateral events to the artistic programming. Second strategic goal is building bridges between cultures through twinning and co-productions. The festival aims to position itself as a meeting place between different cultures and traditions: with this in mind, co-productions become true twinnings involving the Theater and the city. They unite communities, weave stories, stimulate new readings and visions, and create an artistic and cultural contamination that breaks down barriers and diversity, for a deeply inclusive event. Third focal point make Bergamo the cradle of the Voice, thanks to renewed projects and new proposals that embrace different arts and disciplines. Starting with the Donizettian bel canto tradition, we celebrate the voice in all its forms as a contemporary symbol of excellence and creativity. Fourth objective, the construction of a Donizetti Network: the festival will go on to consolidate the concept, which has been gaining momentum in recent years, of "Bergamo City of Donizetti," aiming for further enhancement of the Foundation's Study Center and the construction of a network that will make Bergamo the epicenter of Donizetti's heritage to stimulate a worldwide dialogue. Then, on the education and training side, initiatives will see Donizetti Opera for Life Skills: the festival renews its commitment to the new generations, integrating Life Skills, as recognized by the World Health Organization as positive behaviors in the emotional, cognitive and relational areas, which enable the individual to cope effectively with daily challenges, both in personal and relational and social terms, into the training paths. Educational programs, designed for children and youth,

Zeno's Conscience is the second title of the Teatro Donizetti Foundation's Prose Season: Italo Svevo's masterpiece, one of the classics of 20th-century Italian literature, will be staged at the Teatro Donizetti from Saturday, January 25 to Sunday, February 2, starring Alessandro Haber, one of the prominent figures of Italian theater, under the authoritative direction of Paolo Valerio. Alongside the main protagonist, there will be 10 other actors: Alberto Fasoli, Valentina Violo, Stefano Scandaletti, Ester Galazzi, Emanuele Fortunati, Francesco Godina, Meredith Airò Farulla, Caterina Benevoli, Chiara Pellegrin, Giovanni Schiavo. Adaptation by Monica Codena and Paolo Valerio. Set and costumes by Marta Crisolini Malatesta. Lighting by Gigi Saccomandi. Music by Oragravity. Video by Alessandro Papa. Stage movements by Monica Codena. Produced by Teatro Stabile del Friuli Venezia Giulia and GoldenArt Production. Duration 1 hour and 45 minutes without intermission. Show times: evening 8:30 PM; Sunday, January 26 and Sunday, February 2 at 3:30 PM. A pioneering novel with a powerfully European breath, ironic and fascinatingly complex, Zeno's Conscience celebrated its centenary of publication in 2023: on that occasion, the Teatro Stabile del Friuli Venezia Giulia brought it to the stage as part of a rich research project dedicated to the extremely important cultural deposits of Trieste and its territory. The monumental figure of Italo Svevo and his extraordinary psychoanalytic novel represent a moment of profound, universal significance. Zeno's Conscience, on the other hand, also possesses its own lively theatricality, for the experimentation of innovative writing and for being dominated by the engaging, complex, and very current figure of Zeno Cosini. The novel, in fact, springs from the notes of the protagonist who undergoes treatment by the psychoanalyst Doctor S, trying to resolve his malaise, his neurosis, and inability to feel "in tune" with the world and reality. His perception of himself as inept and sick, and his obstinate – but never entirely convinced – attempts to change and heal, lead Zeno to go through life surprisingly intertwining bourgeois everyday life with surreal episodes rich in humor and truth. Zeno's Conscience has always been interpreted by great actors, such as Renzo Montagnani, Giulio Bosetti, Alberto Lionello, who was also the protagonist of the RAI TV series, and in the subsequent television edition, Johnny Dorelli. In the new production directed by Paolo Valerio, Zeno has the face of Alessandro Haber, an actor with powerful charisma and absolutely personal stage instinct, who, beyond any cliché, knows how to combine irony and depth in every interpretation. "As Giorgio Strehler writes, Zeno's Conscience is 'a stone in the heart of all Triestines' and for me, it's a truly particular challenge," writes Paolo Valerio in his director's notes, "I approached this work strongly favoring Svevo's narrative: I wanted to enclose in this theatrical experience some pages that I find extraordinary, unforgettable, building another Zeno alongside the narrating I. Therefore, Zeno – played by Alessandro Haber – tells his story and relives it through the body of another actor. Zeno reveals to us the stumbling, the humanity... And even

Viennese Dream is the particularly evocative title of the second show in the Operetta Season that Fondazione Teatro Donizetti presents on Sunday, January 19 at the main city theater (3:30 PM). Conceived by director Corrado Abbati, Viennese Dream will feature on stage Antonella De Gasperi, Fabrizio Macciantelli, Mariska Bordoni, Davide Zaccherini, Ilaria Monteverdi, Federico Bonghi, Claudio Ferretti, the Ballet of Parma with choreography by Francesco Frola and an orchestra conducted by Alberto Orlandi. Production by InScena srl. Duration 2 hours including interval. "A dream is, by definition, a sequence of images where it's often sweet to linger. Viennese Dream aims to be just that: a show that moves between historical reconstruction and pure entertainment, becoming not only a "divertissement", but also a moment to learn about the world of operetta," specifies Corrado Abbati himself, "A sequence of lavish scenes with a pressing rhythm serves as the common thread for the revival of famous titles and the discovery of less performed ones. Even Puccini wrote for Vienna, and perhaps not everyone knows that!" Viennese Dream is "an always smiling show, with signs of continuous cheerfulness at the corners of the mouth and in the eyes: 'allegretto sostenuto' as one would say in music! Thus, a 'revue' is born where the rhythm of narration and the harmony of melodic cues unite and merge into a sequence of cheerful and carefree episodes, arias and concertatos supported by the music of Strauss, Zeller, Von Suppè, Lehàr, Abraham, Puccini, performed live by an orchestral group and interpreted by the Company's soloists and choreographed for the Ballet of Parma. A show, therefore, of lightness and seduction where, dancing a whirling waltz, one might fall in love, because this is music that melts hearts and warms the soul," concludes the director.

On Saturday, January 18th, the first of five appointments with the "History Lessons" is scheduled at the Donizetti Theater (at 11:00 AM). This initiative is conceived by Editori Laterza and co-produced with the Fondazione Teatro Donizetti with the support of Cassa Lombarda. The new edition is dedicated to Rebels, focusing on the thoughts and actions of some great figures from the past, from Jesus to Cleopatra, from Joan of Arc to Robespierre and Fidel Castro, and aims to be an exhortation to cultivate the hope of an always possible change. The protagonist of the inaugural meeting, titled Jesus: The Breaking of the Law, will be the theologian Vito Mancuso who will articulate his speech by posing some questions, whose answers do not always automatically correspond to certainties: Did Jesus explicitly intend to break with the Law? Yes and no. Yes, because he was executed for his harsh contestation of religious tradition and his announcement of the kingdom of God in radical opposition to the powers of this world. No, because his rebellion was the result of a deeper obedience. To what? To whom, to what? Vito Mancuso has taught Modern and Contemporary Theology at the San Raffaele University in Milan and was a professor of History of Theological Doctrines at the University of Padua. He currently teaches at the Meditation and Neuroscience master's program at the University of Udine. Since 2022, he has been an editorialist for the newspaper "La Stampa". Among his most successful books, translated into other languages, are: L'anima e il suo destino (Raffaello Cortina, 2007), God and I. A guide of the perplexed (Garzanti, 2011), The passion principle. The force that drives us to love (Garzanti 2013), God and His Destiny (Garzanti 2015). His latest publications are The Mind in Love (2022), Ethics for Difficult Days (2022) , Never miss the joy. Short itinerary of liberation (2023) and Destination Hope (2024), all for Garzanti. The "History Lessons" will continue with Francesca Cenerini, who will talk about the figure of Cleopatra and the influence that Egyptian culture had on Roman taste (February 1st); with Maria Giuseppina Muzzarelli, who will evoke the historical figure, charisma, and complex personality of Joan of Arc (February 8th); with Luigi Mascilli Migliorini, who will offer a profound reflection on Robespierre, at the heart of the French Revolution (February 15th). And finally with Loris Zanatta, who will present Fidel Castro and his revolutionary "political religion" (March 1st). All the meetings will be introduced by the journalist Max Pavan, head of information at Bergamo TV. Tickets are 10 Euros, with a reduction for schools to 8 Euros. At the end of the meetings, the authors will stay with the audience for book signings at the Ridotto Gavazzeni of the Theater.  

Successfully inaugurated last December with King Lear died in Moscow by César Brie, the Altri Percorsi series of the Teatro Donizetti Foundation hosts on Thursday, January 16th at the Teatro Sociale (8:30 PM) In the Eye of the Labyrinth - Apology of Enzo Tortora, a show that evokes one of the most controversial and dramatic Italian judicial cases of the recent past. A monologue written and directed by Chicco Dossi and entrusted to the talented interpretative skills of Simone Tudda, nominated for the Hystrio alla Vocazione Award 2021, In the Eye of the Labyrinth - a Teatro della Cooperativa production, lasting 1 hour and 10 minutes without intermission - tells the story of Enzo Tortora, from the moment the well-known television presenter was arrested on the night of June 17, 1983, accused of Camorra association and drug trafficking. Difficult years followed, between prisons and courts, during which Tortora became the spokesperson for a strenuous battle for justice. A battle that ended with acquittal and a return to life. In the Eye of the Labyrinth was born almost by chance: "Near Corso Magenta, in Milan, right in front of the Teatro Litta, there's Largo Enzo Tortora. Almost more a commemoration than a street sign - I don't think it even has a street number - in small print, under the name, it bears the inscription 'journalist' and the dates of birth and death: 1928-1988. More out of curiosity than civic duty, one day, I decided to inform myself. I discovered that the 'Tortora case' was well known to my mother's generation and completely unknown to mine," Chicco Dossi recounts about the genesis of his show. The story of Enzo Tortora has gone down in history as a typical case of miscarriage of justice, "perhaps even more striking because it was perpetrated against a person known to Italians, since his face dominated for an hour and a half a week on national networks. An episode that took on increasingly chilling contours as I delved deeper: no presumption of innocence, accusations made without any evidence, magistrates eager to arrest the 'big name' who don't read the trial documents, anti-mafia blitzes sold to the press even before they happen, all at the expense of a man totally unrelated to the facts and not associated in any way with Camorra circles. The Tortora case is incredible not only for the cruelty with which judges, press, and public opinion attacked an innocent person. Enzo's story is the story of a man who, from the height of his position as a public figure, decided to become the spokesperson for a battle that has no political color: that of fair justice." "The monologue interpreted by Simone Tudda unfolds in a continuous narration where the diegesis goes beyond narrative boundaries to flow into dialogue, rises in the historical account, where data are always told in an essential way to understand the events, alternates between the third person of an omniscient narrator who goes to spy on the inmates of

This year, as per tradition, the Teatro Donizetti Foundation's Theater Season hosts a production of the Teatri di OperaLombardia, a regional circuit that brings together the cities of Brescia, Como, Piacenza, Pavia, and, of course, Bergamo, where on Friday, January 10 (8:00 PM) and Sunday, January 12 (3:30 PM) Rigoletto, a three-act opera by Giuseppe Verdi, with a libretto by Francesco Maria Piave based on Victor Hugo's drama Le roi s’amuse, will be staged at the Teatro Donizetti. Directed by Matteo Marziano Graziano and with musical direction by Alessandro D’Agostini, the new production of Verdi's masterpiece features sets by Francesca Sgariboldi, costumes by Laurent Pellissier, and lighting by Cristian Zucaro. The orchestra I Pomeriggi Musicali di Milano and the OperaLombardia Choir, directed by Diego Maccagnola, will perform. Characters and performers: Rigoletto Giuseppe Altomare, The Duke of Mantua Paride Cataldo, Gilda Bianca Tognocchi, Sparafucile Mattia Denti, Maddalena Victória Pitts, Giovanna/The Countess of Ceprano Lara Rotili, The Count of Monterone Baopeng Wang, Marullo Lorenzo Liberali, Matteo Borsa Raffaele Feo, The Count of Ceprano Graziano Dallavalle, The Duchess's Page Federica Cassetti, Court Usher Marco Tomasoni. The two performances will be preceded, on Thursday, January 9 at the “M. Tremaglia” Music Hall of the Teatro Donizetti (6:00 PM), by a meeting titled Rigoletto and Lucrezia Borgia: Victor Hugo from Donizetti to Verdi, featuring speakers Livio Aragona, Paolo Fabbri, and Candida Mantica from the Donizetti Studies Center of the Teatro Donizetti Foundation. «Rigoletto is a complex character, whose disabled body makes him the object of mockery and marginalization. His physical condition does not conform to the norms of normality and social acceptability, forcing him to live as an outcast in a cruel world. To survive, Rigoletto exploits his disability, turning it into a macabre spectacle that entertains and disgusts the Duke's court», says Matteo Marziano Graziano in the director's notes. «The concept of Rigoletto revolves around the theme of Fracture, which emerges strongly in every aspect of the opera, from the characters to the scenes, to the costumes. The term Fracture, which derives from the Lombard spahhan, means to split, to create cracks in something. With this opera, Verdi casts a critical light on a deeply flawed, corrupt, and divided society, where the lack of morality towards women, the lack of compassion for different bodies, and the relentless pursuit of personal power at the cost of corruption and favoritism reveal a world in which human values have been irreparably compromised». «The concept of the production is not intended to be a simple act of denunciation, but rather an invitation to a deep reflection on our contemporary society, on our blind spots and the cracks we still need to heal today», continues the director, «In this interpretation, the Fracture becomes not only a narrative theme but also a visual and symbolic element that permeates the entire staging. The sets play with broken lines and transparencies, creating an atmosphere of tension and uncertainty that reflects the tormented soul of the characters. The costumes, made with recycled materials

In view of the two performances on Friday, January 10 (8:00 PM) and Sunday, January 12 (3:30 PM) of the opera Rigoletto, in the new production co-produced by the OperaLombardia Theatres included in the 2024/2025 Theatre Season, the Donizetti Theatre Foundation promotes a meeting around Giuseppe Verdi's masterpiece organized by the Donizetti Studies Center of the Donizetti Theatre Foundation, scheduled for Thursday, January 9 at the “M. Tremaglia” Music Hall of the Donizetti Theatre at 6:00 PM. The meeting, titled Rigoletto and Lucrezia Borgia: Victor Hugo from Donizetti to Verdi, will feature speakers Livio Aragona, Paolo Fabbri, and Candida Mantica from the Donizetti Studies Center of the Donizetti Theatre Foundation. The image repertoire curated by Clelia Epis, Edoardo Cavalli, and Maurizio Merisio, also researchers at the Center, will show how the famous Verdi opera has been staged and interpreted at the Donizetti Theatre in Bergamo. To participate in the meeting, it is necessary to book at the Eventbrite link published on the theatre's website. Lucrezia Borgia by Gaetano Donizetti and The King Amuses Himself by Victor Hugo, that is Rigoletto: cursed stories in which motherhood and fatherhood redeem sinister characters, morally and perhaps even physically 'ugly'. Sordid tragedies in which, against all appearances, filial love would make humanity blossom if an adverse Fate did not systematically cut them down with mocking regularity. Such an intense, irregular theatre, cultivating the category of the Ugly, juxtaposing sublimity with wickedness, mixing the tragic and the grotesque, fascinated Felice Romani and Donizetti in 1833. And in 1851, Francesco Maria Piave and Giuseppe Verdi. Once again, Donizetti proves to be a champion of a Theatre of Novelties of the full Nineteenth Century, of which Verdi would take up the baton.  LINK FOR RESERVATIONS https://www.eventbrite.it/e/rigoletto-e-lucrezia-borgia-victor-hugo-da-donizetti-a-verdi-tickets-1110165387559?aff=oddtdtcreator  

The Operetta returns, as always, a staple in the Teatro Donizetti Foundation's Theater Season: three titles, all scheduled at the Teatro Donizetti on Sunday afternoons at 3:30 PM, which will surely attract many enthusiasts of this genre of theater considered "light," but which in its best expressions has nothing to envy from opera or musicals. And this year too, there will be quality offerings, starting with the inaugural event on Sunday, January 5th with Ballo al Savoy, an operetta but also something more. Written by Alfred Grünwald and Fritz Lohner-Beda, with music by Paul Abraham, Ballo al Savoy can indeed be defined as an operetta-musical, in two acts, which in Bergamo will be presented in the production of the Compagnia Teatro Musica Novecento. Characters and performers: Daisy Darlington - Silvia Felisetti, Mustafà Bei - Alessandro Brachetti, Aristide - Antonio Colamorea, Maddalena - Renata Campanella, Celestino - Fulvio Massa, Pomerol - Marco Falsetti, Arcibaldo - Alessandro Garuti. Corpo di Ballo Novecento with choreography by Salvatore Loritto. Orchestra Cantieri d’Arte conducted by Stefano Giaroli. Sets and Costumes by Artescenica Reggio Emilia. Directed by Alessandro Brachetti. In addition to waltzes, arias, and love duets, Ballo al Savoy is rich in wild rhythms, from Argentine Tango to Swing, with clear allusions and references to the musical that was booming across the ocean in the 1930s. In particular, there is a nod to a renowned American composer like Cole Porter: Abraham included a paraphrase of the famous “Night and Day” in his score. The story is set in Nice, in 1932. In the Hall of the Hotel Savoy, the return of Marquis Aristide Di Faublais and his young wife Maddalena from their long honeymoon is being celebrated. But Aristide receives a telegram from his lawyer, informing him that to access his late father's estate, he must honor a commitment made by his father, which involves spending a night with Tangolita, a Spanish dancer. Aristide must therefore find a way to fulfill the commitment without jeopardizing his marriage... After Ballo al Savoy, the Operetta Season will continue on January 19th with Sogno viennese by the Compagnia Corrado Abbati, a show that, while drawing from the school of the Austrian capital, but not only, moves between historical reconstruction and pure entertainment through a sequence of lavish scenes with a fast-paced rhythm. Finally, on March 30th, Scugnizza will be staged, an operetta full of typically Neapolitan lyricism. Production by the Compagnia d’Operette Elena D’Angelo.

The event that the Donizetti Theatre Foundation proposes on December 31 in the main city theater will be marked by the typical festive colors of the musical. And at the stroke of midnight, a toast in the historic halls of the same Donizetti Theatre, together with the artists of the BIT Company, who on this special occasion (at 10:00 PM) will present A Christmas Carol, adapted from the most famous novel by Charles Dickens, adapted by Melina Pellicano, with original music by Stefano Lori and Marco Caselle. On stage, a cast of over 20 members, with Fabrizio Rizzolo in the role of Ebenezer Scrooge, and special effects curated by Alessandro Marrazzo, 150 costumes, and spectacular sets. Melina Pellicano, director and author of the musical's libretto, wanted to be as faithful as possible to the novel because Dickens' writing is already very theatrical: "Scrooge's loneliness and his economic wealth are in contrast with the serenity of the family and the modest social situation of the other characters. The richness of the soul and the courage to face a less fortunate situation are the true wealth. It's an old concept, but absolutely current," she says, "There are some differences in the story and the characters, but always in respect of the original story and in the spirit of Dickens. This was intentional and is a small personal way to pay homage to the writer." "I chose to open the show with the monologue and song of little Tim (the youngest son of Bob Cratchit, Scrooge's employee), to entrust a child with the task of explaining 'how things really are,' to explain to the audience the point of view of a child who looks at the world with clear eyes and without judgment. Tiny Tim indeed tells that Scrooge 'is not able to smile and is always angry with anyone who speaks to him,' but that in reality 'he is just alone' and no one should be alone at Christmas," continues the director. Another unmissable event will be the New Year's Concert, scheduled for the morning of Wednesday, January 1 at the Teatro Sociale (11:00 AM). The Italian Philharmonic Orchestra, conducted by Andrea Oddone, will guide the audience on an exciting musical journey through The Dances of Europe, reflecting various European musical traditions, from Vienna to Italy, passing through the heart of Central Europe. The concert program includes masterpieces by composers who have captured the soul of folk dances and transformed them into timeless works of art. The repertoire of Johann Strauss, "the King of the Waltz," with his famous polkas and Viennese waltzes, will evoke the elegance and energy of the Austrian capital during the golden age of dance music. Antonín Dvořák, on the other hand, with his Slavonic dances, will immerse the audience in the warm and evocative atmospheres of Central Europe: his melodies, rich in liveliness and sentiment, reflect the pride of the popular culture of his homeland, the Czech Republic. There will also be a tribute to Italy with

As is tradition, this year the Donizetti Theatre Foundation also presents the Christmas Concert, featuring the choir I Piccoli Musici directed by Mario Mora. The concert, scheduled for Saturday, December 21 at the Teatro Sociale (3:30 PM), will once again be a precious opportunity to savor the Christmas atmosphere through compositions that evoke its festive and spiritual climate. This year, a particularly suggestive and evocative title has been chosen: The Sound of the Voice. The absolute protagonist will indeed be the voice of the choir, with the inclusion of some soloists: Alberto Braghini on piano, Francesca Tirale on harp, Silvia Freti on violin, and Sebastiano Suardi on bagpipes. The concert will ideally be divided into two parts: the first will feature Folk Songs from various nations, pieces from musicals by Leonard Bernstein and Richard Rodgers, and opera songs, also commemorating the centenary of Giacomo Puccini's death. From Georges Bizet's opera Carmen, staged at the Donizetti Theatre in the 1995 season in which the choir participated, the “Choeur des Gamins” will be presented in a scenic form, with “Avec la garde montante”, a piece that the “Coro dei Monelli” sings in the first act. The second part will then give ample space to the most beautiful Christmas melodies, but there will also be new premieres, skillfully arranged for the choir by Mauro Zuccante, such as “The little drummer boy”, a famous American Christmas song written in 1941, and “Let it snow”, a true Christmas classic of the 20th century. Different styles but presented with a single characteristic: expressiveness and sound, which have always distinguished the choir I Piccoli Musici. Cultural Ambassador of Europe for the Federation of Choirs of the Union, the choir I Piccoli Musici, based in Casazza and directed since its foundation by Mario Mora, was established in 1986, an expression of the music school of the same name. In its intense artistic activity, the choir has been invited to perform concerts at important international choral festivals and has received numerous awards. It has participated in concerts broadcast by RAI, Mediaset, Swiss TV and Radio: "Christmas in the Vatican" in the presence of John Paul II, "Christmas Notes", "Christmas in the Milan Cathedral", "Christmas Time". From 2007 to 2023, it performed the Christmas Concert with the RAI National Symphony Orchestra, broadcast in Eurovision from the Basilica of Assisi. It has recorded works by Mendelssohn and Britten and a collection of International Songs and Melodies titled Around the world, the Christmas Vespers by Willaert, and a collection of Christmas songs for Stradivarius in Milan (judged by the French magazine “Repertoire” as the best Christmas album of the year 2000). It has also recorded a collection of songs for children and young people titled Giro, Giro Canto 3.