by Opera Charm Team
February 16, 2024

Il Trovatore
Opera in four acts
from El trovador by Antonio García-Gutiérrez
Libretto by Salvadore Cammarano [and Leone Emanuele Bardare]
Music by Giuseppe Verdi

Conductor | Renato Palumbo
Director | Davide Livermore
Chorus Master | Gea Garatti Ansini

Direction taked by Carlo Sciaccaluga
Sets | Giò Forma
Video | D-Wok
Costumes | Anna Verde
Lights | Antonio Castro
Assistant Director | Giulia Caci

Characters and performers

Count of the Moon | Lucas Meachem  FEB 18, 20, 23, 25  || Angelo Veccia FEB 21 
Leonora | Marta Torbidoni FEB 18, 20, 23, 25 || Federica Vitali FEB 21
Azucena | Chiara Mogini FEB 18th, 20th, 23rd, 25th || Cristina Melis FEB 21 
Manrico | Roberto Aronica FEB 18, 20, 23, 25 || Zi-Zhao Guo FEB 21
Ferrando | Gianluca Buratto
Ines | Benedetta Mazzetto
Rui | Cristiano Olivieri

Circense | Manolo Barontini
Circus performer | Andrea Vanni
Acrobat | Federica Scalia
Acrobat | Fabrizio Corona

New production of Teatro Comunale di Bologna with Teatro Regio di Parma
Orchestra, Chorus and Technicians of Teatro Comunale di Bologna


FEB 18 | 20 | 21 | 23 | 25


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After its baptism at the Festival Verdi in September 2023 with the Orchestra and Chorus of the Teatro Comunale, Il trovatore according to Davide Livermore also arrives on the Bologna stage. The performance, co-produced with the Teatro Regio in Parma, is staged at the Comunale Nouveau starting Sunday 18 February at 6 p.m. – also broadcast live on Rai Radio3 – with replicas until Sunday 25 February.

On the podium is Renato Palumbo, at the helm of a cast featuring Roberto Aronica as Manrico, Marta Torbidoni as Leonora, Lucas Meachem as Conte di Luna and Chiara Mogini as Azucena, who alternate – for the performance on 21 February only – with Zi-Zhao Guo, Federica Vitali, Angelo Veccia and Cristina Melis. Completing the vocal ensemble are Gianluca Buratto (Ferrando), Benedetta Mazzetto (Ines) and Cristiano Olivieri (Ruiz). The Orchestra and Chorus – prepared by Gea Garatti Ansini – are those of the Teatro Comunale di Bologna.

“When I prepare a direction,” says Livermore, “I always start from a maniacal study: I start from the libretto and in the case of Il Trovatore from the beautiful story by Salvadore Cammarano: it is our time but also an elsewhere, it is a dystopian contemporaneity in which the gypsies exist, they are merrymakers and circus performers and often live under the overpasses of our bypasses on which we speed along in our cars without even realising that beneath us pulses a life removed by a society that no longer knows how to observe the territory, but lives time only through virtual or fake logics’. The director – who from 2018 to 2021 signed the stagings for four consecutive openings of the Teatro alla Scala – now returns to collaborate with the Comunale after Idomeneo in 2010 and Il turco in Italia in 2017. In the creative team alongside him is Carlo Sciaccaluga, who takes over the direction of Il Trovatore in Bologna, Giò Forma who takes care of the sets, D-Wok the videos, Anna Verde the costumes and Antonio Castro the lights.

A Knight of the Italian Republic for artistic merits, who made his conducting debut at only 19 years of age with this Verdi title, of which he has directed about 300 performances to date, Palumbo is at his second Trovatore with the Bologna opera-symphonic foundation after the 2012 one directed by Paul Curran.

A famous page of the ‘Popular Trilogy’, composed after Rigoletto and before Traviata, the lyrical drama in four parts and eight scenes from Antonio García-Gutiérrez’s El trovador, with a libretto by Salvadore Cammarano, was performed at the Teatro Apollo in Rome on 19 January 1853 to enormous success.

Each character in Il Trovatore tells a story, mixing nobles and outcasts, superstition and violence, touching on the dark sides of feelings.

Presenting Partner of the show, and once again close to the Theatre, is Alfasigma.

The performances will be preceded – about 45 minutes before they begin – by a short presentation of the opera in the Foyer of the Comunale Nouveau. 
Tickets – ranging from €25 to €150 – are on sale online via Vivaticket and at the Teatro Comunale ticket office, open Tuesday to Friday from 12 noon to 6 p.m., on Saturdays from 11 a.m. to 3 p.m. (Largo Respighi, 1); on performance days at the Comunale Nouveau (Piazza della Costituzione, 4) from an hour before and up to 15 minutes after the start.


The Opera Season of Teatro Municipale Piacenza continues with Turandot by Giacomo Puccini
March 2024
Opera Charm Team
March 2024
Opera Charm Team

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.


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