News

790 subscriptions, 22 more than last year: with this extraordinary figure, thanks to which a sold-out audience participation is expected, Bergamo Jazz 2025 now launches the ticket sales for individual evenings at Teatro Donizetti and for the concerts in the "Jazz in the City" section. Tickets are already available for the two events at Teatro Sociale on the evening of Thursday, March 20 (with singer Lizz Wright and pianist Antonio Faraò's trio) and on Sunday afternoon, March 23 (with the supergroup Stick Men led by the famous bassist Tony Levin). Jazz at Donizetti On Friday, March 21, the first of three subscription evenings at Teatro Donizetti, starting at 8:30 PM, will open with a duo formed by a double bass champion like Dave Holland and Lionel Loueke, one of the most innovative guitarists to appear on the jazz scene in recent decades. This high-caliber artistic duo will serve as the "opener" for the Wayne Shorter Legacy, namely pianist Danilo Pérez, double bassist John Patitucci, drummer Brian Blade, and, as a special guest, saxophonist Ravi Coltrane, musicians who certainly need no extensive introductions. The Saturday evening, March 22, will also feature an authentic all-star group, The Cookers, seven veterans of countless jazz battles: trumpeters Eddie Henderson and David Weiss, saxophonists Azar Lawrence and Donald Harrison, pianist George Cables, double bassist Cecil McBee and drummer Billy Hart. The Cookers' concert will be preceded by that of the most international of Italian jazz musicians, Enrico Rava. The trumpeter and flugelhorn player, former Artistic Director of Bergamo Jazz from 2012 to 2015, will lead his "Fearless Five", a formation that recently won the "Top Jazz 2024" award from the monthly magazine Musica Jazz. On Sunday, March 23, the last evening at the Donizetti will feature the first appearance on the main city theater stage of guitarist Marc Ribot and the return after ten years of one of the most charismatic female voices, Dianne Reeves. Jazz In The City Bergamo Jazz once again enters small theaters to offer precious musical performances, among the most artistically stimulating proposals of the Festival. Opening the series of concerts scattered throughout the city will be, on Thursday, March 20 at Teatro Sant'Andrea in Via Porta Dipinta (5:00 PM), Cuban pianist Aruán Ortiz, from whose fingers flows a musicality where Afro-Caribbean tradition meets the most advanced jazz. The same venue will host the concert on Sunday, March 23 (11:00 AM) featuring English double bassist Barry Guy, a historic exponent of the most daring improvised music, and Catalan pianist Jordina Millà: the two musicians have recently released the album Live In Munich on ECM. The Auditorium in Piazza della Libertà will also host two events, both marked by "mixed" groups, both in terms of gender and geographical origin, highlighting some prominent names from the new wave of British Jazz: La Via del Ferro (Friday, March 21, 5:00 PM) and pianist Alexander Hawkins' Dialect Quintet (Saturday, March 22, 5:00 PM). The first, highly appreciated by famous DJ and producer Gilles Peterson, is

Launched with great success – over 950 attendees – by Vito Mancuso, who offered an unprecedented portrait of Jesus, the second edition of “History Lessons”, an initiative conceived by Editori Laterza and produced in co-production with the Fondazione Teatro Donizetti and with the support of Cassa Lombarda, continues on Saturday, February 1st at Teatro Donizetti (11:00 am) with another historical figure, well aligned with the theme of “Rebels”, chosen this year for the series: Cleopatra. Cleopatra: the queen enemy of Rome is indeed the title of the lesson by Francesca Cenerini, professor of Roman History and Epigraphy and Roman Institutions at the University of Bologna. The history of Rome intersects not only with the life of the last queen of the Ptolemaic dynasty and the destinies of Egypt, but also with the histories of Palestine, Africa, and Asia. It marks the beginning of a season that will have a significant impact on the culture and tastes of the Romans. Francesca Cenerini has focused her studies in the field of Ancient History. Her research interests are particularly directed towards the representation of the female condition in Roman times, through the analysis of historiographic and epigraphic documentation. This research has produced two monographs and numerous articles published in journals and essays in volumes. She has collaborated on many initiatives aimed at the public communication of her research, collaborating with high-profile magazines and cultural initiatives. She is the author of The Roman Woman. Models and realities (Il Mulino, 2013) and Messalina. Legend and history of a dangerous woman (Laterza, 2024). The “History Lessons” will then continue with Maria Giuseppina Muzzarelli, who will recall the historical figure, charisma, and complex personality of Joan of Arc (February 8); with Luigi Mascilli Migliorini, who will offer a deep reflection on Robespierre, at the heart of the French Revolution (February 15); and finally with Loris Zanatta, who will present Fidel Castro and his revolutionary “political religion” (March 1). All meetings will be introduced by journalist Max Pavan, head of information at Bergamo TV. Tickets 10 Euros, with a reduction for schools to 8 Euros. At the end of the meetings, the authors will stay with the audience for a book signing at the Ridotto Gavazzeni of the Theater.    

Maestro Riccardo Frizza, internationally renowned conductor and musical director of Donizetti Opera since 2017, appointed as artistic director of the event on December 4th by the Board of Directors of the Fondazione Teatro Donizetti, announces his vision for the festival for the 2025-2027 triennium. Under the banner of 'evolution', Maestro Frizza intends to continue the path undertaken in recent years with an innovative vision that combines continuity and future. While the event previously inaugurated its renewed format by revamping the artistic programming and permeating the city with the figure of Donizetti as an illustrious Bergamo native, now the aim is an evolution that brings Gaetano Donizetti the composer back to the center, as 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. Indeed, Donizetti Opera intends to strengthen and expand its international dimension, focusing even more on artistic quality and musicological research, to position itself among the great events on the world cultural scene. High-level productions and active dialogue with audiences beyond borders will make the festival a reference point for enthusiasts and experts in the field, as well as for newcomers and curious individuals who want to approach the corpus of the famous Bergamo composer, attracted by events collateral to the artistic programming. The second strategic objective is building bridges between cultures, thanks to twinnings and co-productions. The festival aims to be a meeting place for different cultures and traditions: in this perspective, co-productions become true twinnings involving the Theatre and the city. They unite communities, interweave stories, stimulate new readings and visions, and create an artistic and cultural contamination that breaks down barriers and differences, for a deeply inclusive event. The third focal point is making Bergamo the cradle of Voice, thanks to renewed projects and new proposals embracing various arts and disciplines. Starting from the Donizettian bel canto tradition, the voice is celebrated in all its forms, as a contemporary symbol of excellence and creativity. The fourth objective is the construction of a Donizetti Network: the festival will consolidate the concept, which has made its way in recent years, of 'Bergamo City of Donizetti', aiming at further enhancement of the Foundation's Study Center and the construction of a network that makes Bergamo the epicenter of Donizetti's heritage to stimulate dialogue on a global level. Then, on the education and training front, initiatives will see Donizetti Opera for Life Skills: the festival renews its commitment to new generations, integrating Life Skills into educational paths, as recognized by the World Health Organization as positive behaviors in emotional, cognitive, and relational areas, allowing individuals to effectively face daily challenges, both in personal and relational and social terms. The educational programs, designed for children and young people, in collaboration with schools and institutions of all levels, connect dreams, expectations, challenges, and visions of new generations with the

The advanced masterclass dedicated to the Donizetti repertoire, led by Giulio Zappa, will feature Riccardo Frizza, Alessandro Corbelli, and Cristiano Sandri among its instructors for the 2025 edition Application deadline: by 1:00 PM on Friday, February 14, 2025 In-person auditions: Monday, March 31, and Tuesday, April 1, 2025 Would you like to read the call for applications with all the details about the “Donizetti Workshop 2025” project and apply? CLICK HERE Participation is free of charge and is open to young artists born on or after January 1, 1993. This year, 6 participants will be selected: 2 sopranos, 1 mezzo-soprano, 1 tenor, 1 baritone, and 1 bass/bass-baritone/baritone. During the production period of the Donizetti Opera Festival 2025, each participant will receive a gross fee of €4,500 in addition to the scholarship, for their involvement in some of the scheduled productions. Through the “Donizetti Workshop,” participants will have the opportunity to deepen their understanding of vocal and dramaturgical elements associated with Donizetti’s operatic works, refining various aspects of the bel canto repertoire and, as Gaetano Donizetti demanded, developing their acting skills as well.

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