Il barbiere di Siviglia opens the 2024 season at Teatro Regio di Parma

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by OPERA Charm Team

December 19, 2023

Gioachino Rossini's opera in Pier Luigi Pizzi's staging, with Diego Ceretta conducting the Filarmonica Arturo Toscanini and the Teatro Regio di Parma Chorus prepared by Martino Faggiani.

Starring Maxim Mironov, Maria Kataeva, Andrzej Filończyk.

Rehearsal reserved for the Under 30s with lots of surprises and aftershow with djset

Teatro Regio di Parma
Friday, January 12th, 2024, 8 p.m (CET)
Tuesday, Thursday 16th & 18th, 8 p.m (CET)
Saturday, January 20th, 5.00 p.m. (CET)

Il barbiere di Siviglia, opera buffa in two acts by Gioachino Rossini to a libretto by Cesare Sterbini, opens the Opera Season on Friday, January 12th, 2024 at 8.00 p.m. (performances on Tuesday, Thursday 16th & 18th, 8.00 p.m., and Saturday, January 20th, 5.00 p.m.). The opera is staged in the co-production with Fondazione Rossini Opera Festival, with direction, sets and costumes by Pier Luigi Pizzi, collaborating director and lighting by Massimo Gasparon. The score is in the critical edition of the Fondazione Rossini, in collaboration with Casa Ricordi, edited by Alberto Zedda. Twenty-seven-year-old Diego Ceretta, making his debut in the title role and for the first time at the Teatro Regio di Parma, will conduct the Arturo Toscanini Philharmonic and the Teatro Regio di Parma Chorus prepared by Martino Faggiani. Starring Maxim Mironov (Conte d’Almaviva, for the first time at the Teatro Regio), Maria Kataeva (Rosina, for the first time at Parma), Andrzej Filończyk (Figaro, for the first time at the Teatro Regio), Marco Filippo Romano (Don Bartolo), Roberto Tagliavini (Don Basilio), Elena Zilio (Berta), William Corrò (Fiorello / An officer).

A dense plot of deceptions, stratagems and hilarious situations, a brilliant musical language and a tight narrative rhythm make this opera one of the most performed in the world. A success that was anything but taken for granted at the time of its debut on February 20th, 1816 at the Teatro Argentina in Rome. The comparison with Giovanni Paisiello, author just thirty years earlier of an opera of the same name based on the same drama by Beaumarchais, was so heavy that, the story goes, many of Rossini’s detractors were present at the première with the sole aim of boycotting it.
“Chance and enterprise lie behind the birth of the most universally known and performed opera buffa, the legend is its inevitable side dish,’ explains Giuseppe Martini. The legend concerns the time of composition, estimated at around a fortnight between January 25th and February 10th, having to be staged on the 20th and already being late; and the well-known dispute at the debut. In the first case, it must be said that Rossini was quick to write, and those working times were in any case normal for the time (and, note, the dry recitatives were written by collaborators); as for the protest, it is customary to blame it on the Paisiellians, but some are inclined today to motivate it also with the novelties proposed by Rossini’s layout with respect to conventions. After the fiasco of the first night (Cesarini Sforza had died during the rehearsals) and the five performances only (the season ended on the 27th), the Barbiere was increasingly successful: in five to six years it invaded Europe, and in the following decades it survived the crisis of the opera buffa and much of Rossini’s repertoire. It remained the supreme model in its genre and is still one of the most performed operas in the world”.

OPEN REHEARSALS
The rehearsal on Sunday, January 7th, 2024, 8 p.m. (tickets 5 euro) is reserved for the under-30 audience. There will be plenty of surprises for the evening, which will be introduced by Teatro Necessario’s acrobatic performance from the show Premiata Barberia Carloni and will feature the barbers of Depot Barber&Co., ready to style the young spectators. And for those who wish, the evening can end with an aftershow with DJ set in the rooms of the Ridotto (admission 5 euro).
The rehearsal on Wednesday, January 10th, 2024, 3.30 p.m., is open to the public. Tickets (10 euros) on sale from Thursday, January 5th.

BEFORE THE CURTAIN RISES
The composer, the style, the genesis of the works, and the literary masterpieces that inspired his production are some of the topics discussed by Giuseppe Martini in Prima che si alzi il sipario, a series of meetings to present the operas scheduled at the Regio Theatre. The meeting on Sunday, January 7th, 2024 at 5 p.m. is dedicated to Il barbiere di Siviglia, with the participation of singers from the Arrigo Boito Conservatory of Music in Parma, coordinated by Donatella Saccardi, who will perform the most famous pieces.

THE REGIOINSIEME OPERA ACCESSIBILITY PATHS
As part of RegioInsieme, in collaboration with UICI PARMA (Italian Union of the Blind and Visually Impaired), the Regio Theatre is organising an introduction to listening path dedicated to people with visual impairments. On Monday 8 January, at 3 p.m., the first meeting of Musical Conversations, conducted by Laura Minto, with piano listening by Milo Martani.
RegioInsieme is the social project of the Regio Theatre in Parma, created to create opportunities and make performances, concerts, workshops, paths and training experiences accessible to all, to once again make theatre an opportunity for growth, wellbeing and enrichment. The programme of events is available on teatroregioparma.it.

TICKET OFFICE OF THE TEATRO REGIO DI PARMA
Strada Giuseppe Garibaldi, 16/A 43121 Parma Tel. +39 0521 203999 biglietteria@teatroregioparma.it
Opening hours: Tuesday to Saturday 11 a.m. – 1 p.m. and 5 p.m. – 7 p.m. and one hour before the performance. On closing days, one hour before the performance. Closed Mondays, Sundays and public holidays. Payment at the Teatro Regio di Parma Ticket Office can be made with cash in Euro, with a non-transferable bank draft made out to Fondazione Teatro Regio di Parma, with PagoBancomat, with Visa, Cartasi, Diners, Mastercard, American Express credit cards. Tickets for all performances are also available on teatroregioparma.it. Online purchase does not entail any service commission.

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Alice Lechner

Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.

Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.

Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.

Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.

Oana Zamfir

Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.

She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.

Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.

Her interests include pursuing a degree in interior design in 2020.

Alexandru Suciu

Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.

His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.

During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.

He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.

Cristina Fieraru

Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.

She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.

She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.

Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.

BIANCA L. NICA

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