Opera and Ballet

Teatro Regio, Thursday 20 November 2014 - Saturday 29 November 2014

Teatro Regio, Tuesday 14 October 2014 - Tuesday 28 October 2014

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Teatro Regio, Tuesday 30 September 2014 - Tuesday 7 October 2014

Guglielmo Tell

Guglielmo Tell

A romantic and Revolutionary Rossini
in the new production of Vick and the direction of Noseda

Teatro Regio, Wednseday, 7th May 2014, 19:00


William Tell by Rossini, one of the most anticipated events of the season, will be staged at the
Teatro Regio from 7th -18th May. The latest and revolutionary opera by Gioachino Rossini, William Tell, is presented in a new production co-produced with the Rossini Opera Festival and signed by Graham Vick. For the occasion, the opera will be offered in a four-act version with the Italian translation by Calisto Bassi, edited by Paolo Cattelan's in 1988. The Orchestra and Chorus of the Teatro Regio will be led by maestro Gianandrea Noseda, who returns to Turin after the great success both at the Metropolitan in New York and the tour with the Israel Philharmonic Orchestra.
The Chorus of the Teatro Regio, protagonist of some of the most beautiful pages of this opera, you will be directed by the Maestro Claudio Fenoglio. The direction of Graham Vick, with one of the most interesting sets designed specifically for this opera, is recorded by Lorenzo Nencini. The staging, with sets and costumes are by Paul Brown, light by Giuseppe Di Iorio, and the choreography is by Ron Howell, allow different period elements to co-exist thus highlighting the content relevance of this opera.

A Florentine Tragedy - Gianni Schicchi

The sounds of fin de siècle for a premiere at the Regio

Teatro Regio, Friday, 21st March, 2014 at 20:00

From 21st to 30th March the Teatro Regio offers an unusual diptych: A Florentine Tragedy (Eine Florentinische Tragödie) by Alexander von Zemlinsky (first performance in Turin) and Gianni Schicchi by Giacomo Puccini, two one-act operas that will enrich the program of March with outstanding nine performances. On the podium of the Orchestra of the Teatro Regio is Stefan Anton Reck, director recognized worldwide as a specialist in the repertoire of the early twentieth century and a former pupil of masters like Leonard Bernstein, Claudio Abbado and Seiji Ozawa.

A crime of passion and a roguish scam in Renaissance Florence: this is, in a nutshell, the argument of these two operas. The director Vittorio Borrelli, for the setting at the Teatro Regio, imagined two apartments at the beginning of 20th century, exactly the period when both operas was written. There are several different opera singers in these two operas in order to place emphasis on the contrasting vocal aspects that characterize both operas. The deep and seductive voice of the baritone Mark S. Doss will animate the character of Simone in A Florentine Tragedy performing alongside the amazing soprano Ángeles Blancas Gulín and the tenor Zoran Todorovich, applauded for his vocal power and his dramatic presence. In the role of Simone, Doss alternates with Tommi Hakala (performances on 22, 25, 27, 29th March).

Opera and Ballet

The unusual diptych Zemlinsky & Puccini


Puccini’s masterpiece, the first Italian opera of the twentieth century, in the celebrated settings of Jean-Louis Grinda


Teatro Regio, Thursday, 13th March 2014 at 20:00




The ancient Chinese fable. A metaphor of existence in the sumptuous staging of Giuliano Montaldo, conducted by Pinchas Steinberg

Teatro Regio, Wednesday, 12th February 2014 at 20:00

Madama Butterfly

The tragedy of Puccini in awesome construction created by Damiano Michieletto. Live at cinemas

Teatro Regio, Saturday 1st February 2014

After Verdi and Rossini, Madame Butterfly comes into play, presenting the third great protagonist of the Opera Season 2013-2014: Giacomo Puccini. Based on our musical heritage, the current season is presenting famous operatic titles to retrace all the main stages of the history of Italian opera, from the nineteenth to the twentieth century.

On Saturday 1st, Tuesday 4th and Thursday 6th February, at 20:00, the Teatro Regio offers the emblematic Puccini's masterpiece, created by Damiano Michieletto for our Theatre in 2010. The recitation of 4th February, reflecting the innovative dramatic reading of the director, will be broadcast live in HD over cinemas in all the world and over eighty cinemas across the country as part of the program "The great 2013-2014 live season," and at the same time on Rai - Radio3. The opera will also be broadcast on the digital channel Rai5 on Thursday 13th February at 21:15 and on Sunday 16th February at 10:00.

The “Enfant prodige” of the Italian opera, Michieletto, in his early thirties and winner of the Abbiati Prize in 2007, suggest a re-reading of Madame Butterfly from a contemporary point of view. The exoticism in Madame Butterfly, at the time of its premiere at ‘La Scala’ in 1904, was represented by the kimono, the ‘sensu’ (the typical Japanese fan) and the sumptuous obi. Today, in the era of globalization, these items are not symbols of a far off land, but mere objects that have lost their deeper meaning and origin. From these reflections Michieletto could recreate the opera, covering Butterfly with new symbols.

The magic flute

A delicate balance between good and evil
A magic opera by Mozart

Teatro Regio, Friday 10th January 2014 at 20:00

Die Zauberflöte (The Magic Flute) by Wolfgang Amadeus Mozart is a Singspiel full of magic and mystery. The opera will be shown at the Teatro Regio from 10th to 21st January 2014 in fairy tale scenery, directed by Roberto Andò. On the podium of the Orchestra and Chorus of the Teatro Regio is the conductor Christian Arming, an austrian director acclaimed worldwide by audiences for his interpretations of Mozart's pages.

The Magic Flute is an opera of deep contents, almost mystical; however, Roberto Andò has not lost sight of that freshness which Mozart himself thought of, to make his opera light yet suitable for the public. “Mozart - says the director - showed his scientific interests and his love for Egypt in the Magic Flute. Unfortunately, over the years, the focus shifted from it being theatrical to the point of losing sight of the wonderful intersections between popular taste and some aspects of thought. I wanted to keep it simple, bringing back its lightness and elements of surprise, drawing from a theatrical model in keeping singing-actors on stage.”

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