Gabriele Ferro

The Pearl Fishers from 1863 concerns an opera in three acts. It's a work about friendship, love, faithfulness and betrayal. The story takes place in Sri Lanka. The pearl fishers Nadir and Zurga are both in love with the girl Leïla. In order to maintain their friendship, the swear not to court the girl. They promise never let go of their friendship end over the love for th a girl. Then they lose sight of the girl. Years later, Leïla returns as a priestess back to the fishermen's village. Nadir recognizes her and courts her. The two are caught and the sentence is the pillar. Zurga, now the fisherman's captain, avoids this and lets them escape. The angry villagers grabbed him and threw him on the pile of fire that was intended for the two lovers.

The acclaimed Italian director, Emma Dante, presents a powerful, barbaric and at time frenzied Macbeth with great attention to detail. Staged and filmed in Italy's largest theatre, the Teatro Massimo in Palermo, Sicily, this production captures remarkable performances by the Italian soprano Anna Pirozzi as Lady Macbeth, the renowned Verdi specialist, baritone Roberto Frontali, in one of his signature roles, and the rising star, Croatian bass-baritone Marko Mimica as Banco (Banquo). The conductor, Gabriele Ferro, has opted to use the 1865 Paris version of the score, sung in Italian and without the ballets, for a production that received generous praise in Palermo and on tour.

La Sonnambula (The Sleepwalker), an opera semiseria by Vincenzo Bellini with a libretto by Felice Romani, premiered in Milan in 1831. Set in a Swiss Alpine village, the story centers on Amina, an orphan engaged to the wealthy farmer Elvino. Their wedding is jeopardized when Amina, suffering from somnambulism, sleepwalks into the room of Count Rodolfo, a mysterious stranger and the village's former lord who is staying at the local inn.

Live performance from Schwetzinger Festspiele, 1988. What sets this IL BARBIERE DI SIVIGLIA apart from all others available is its elegant realism. None of its visuals are the least bit cartoonish or blatantly designed for comedy. Dr. Bartolo’s house is a stark, stern-looking structure of plastered brick with a comfortable yet plain, white-curtained interior, while the costumes are highly realistic 18th century garb in subdued colors. Yet despite its fairly austere appearance the production is delightful, thanks to its performers and staging. The stage business is lively, witty and free of excessive slapstick, and every singer brings his or her character to life, all offering rich, vibrant characterizations that strike a perfect balance between comedy and humanity.