DON GIOVANNI - Bank of Valletta

115, Old Theatre Street,
Valletta Tel: 2123 2574 Fax: 2122 3005
Teatru Manoel
proudly presents
Opera Festival 2003
Wolfgang Amadeus Mozart’s
DON GIOVANNI
Libretto by Lorenzo da Ponte
with
Ugo Guagliardo, Giovanni Bellavia,
Natasa Katai, Domenico Bellantone, Lydia Caruana,
Lorena Scarlata, Vincenzo Taormina, Maurizio Lo Piccolo
and
Orkestra Nazzjonali
Musical director: Michael Laus
Leader: Marcelline Agius
Artistic director: Mauro Avogadro
Coordinator: Elizabeth Smith
Manoel Theatre
Saturday 22nd & Sunday 23rd March 2003

Manoel theatre Management committee
Chairman: John Lowell
Acting Chairman: Peter Fenech
Members: Peter Fenech, Chris Gatt, John R. Gatt, Maria Ghirlando, Michael
Laus, Alfred Mallia, Genevieve Mamo, Alfred Spiteri Mallia, Paul
Xuereb, Kenneth Zammit Tabona
Artistic Director: Tony Cassar Darien
Promoters for Operalaboratorio 2002
City of Palermo: Diego Cammarata, Mayor
Gianni Puglisi, Director of Cultural Affairs
Foundation for the Teatro
Massimo of Palermo: Claudio Desderi, Sovrintendente
Gaetano Armao, Vice-President
Roberto Pagano, Artistic Director
Giuseppe Cuccia, Production Coordinator
Management Committee
of Operalaboratorio: Elizabeth Smith, Artistic & Academic Director
Dr. Stefano Di Stefano, Administrative Consultant & Accountant
Francesca Pipi, Technical Director
Immacolata Scaccia, Office Manager
The Committee of the Manoel Theatre is proud to be associated with these sponsors:
Ministry of Finance, Securital Limited, Central Bank of Malta, Ministry of Foreign Affairs,
Corinthia Palace Hotel, Simonds Farsons Cisk plc, Enemalta Corporation, Eden Leisure
Group, AirMalta plc, Bank of Valletta
Booking Office: 116, Old Theatre Str., Valletta, VLT 07
Opening Hours: Monday to Friday: 10am - 1pm & 5pm - 7pm
Saturday: 10am - 12noon
Reservations: Tel: [+356] 21 246389 Fax: [+356] 21 237340
bookings@teatrumanoel.com.mt
Tickets to be collected within 48 hours.
Payments: Accepted by cash, cheques & credit cards
(Quikcash; Electron; Visa; Mastercard; Eurocard)
Cover photo: Patrick Fenech ® all rights reserved.
Performances start at 7.30p.m. unless otherwise stated. Latecomers have to wait for a suitable pause in the programme before
being ushered to their seats. The Verdi Room in the foyer includes a close-circuit television where one may view the
performance. The management reserves the right to alter the programme and the performance time of any production.
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TEATRU MANOEL
MICHAEL LAUS
Musical Director
After his early musical training in Malta, Michael
Laus won a scholarship from the Italian Cultural
Institute in order to pursue his studies in piano,
harpsichord, composition and conducting at the
Conservatorio Giuseppe Verdi of Milan. Later, in
the United States, he participated in masterclasses
in conducting given by George Manahan.
Besides giving a number of recitals in Malta, he
appeared as a pianist in Milan’s Sala Verdi and in
the Teatro San Carlo of Naples. As conductor, he
has worked with the Orchestra Filarmonica di Parma,
the Youth Orchestra of the Moscow Conservatoire,
the Primavera Ensemble, the New Slovak Radio
Symphony Orchestra, and the Bournemouth
Symphony Orchestra. He has conducted productions of Madama Butterfly, Adriana Lecouvreur
and Otello at the Berne State Theatre. In recent years he has been musical director in Manoel
Theatre opera productions: Werther (2001), La Traviata and Così Fan Tutte (2002),
Michael Laus was the Principal Conductor of the Manoel Theatre Orchestra from 1991 to 1997.
He is Associate Professor in Music Studies at the University of Malta and, as from April 1999,
Chairman of the National Orchestra. He has recorded orchestral music on CD for the labels
‘Discover International’ and ‘Unicorn-Khanchana’. He is married to Maltese soprano
Miriam Gauci.
ORKESTRA NAZZJONALI
Flute - Rebecca Hall,* Helen Wills
Oboe - John McDonough,* Federico Comoli
Clarinet - Joseph Camilleri,* Tony Galea
Bassoon - Archibald Mizzi,* Mario Micallef
Horn - Emanuel Spagnol,* Etienne Cutajar
Trumpet - Kevin Abela,* Sigmund Mifsud,
Trombone - Roderick Bugeja,* Dennis
Camilleri, Jesmond Azzopardi
Timpani - Joseph Camilleri*
Mandolin - Stephen Zammit
Programme editor: Victor Fenech
1st Violin - Marcelline Agius,** Nadia DeBono,
Stephen Galea, Andrew Borg, Mario Micallef,
Rosanne Dimech, Fiona Giambra, Roberta
Attard
2nd Violin - Stephen Zammit,* Susan Borg,
Mario Ciantar, Stephen Debattista, Graziella
Mizzi, Matthew Fenech
Viola - AnnMarie Chetcuti,* Guido Mamo,
Savio Debono, Mario Frendo
Violoncello - Valeriu Popovici,* Mario Psaila,
Freddie Tonna, Angelica Galea
Double Bass - Carmel Lino Cremona*, Nicholas
Ciantar
Continuo - Salvatore Schinaldi
** Orchestra Leader * Section Leaders
TEATRU MANOEL
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Bank of Valletta Group
Bank of Valletta was established in 1974, following the amalgamation of a number of Maltese
banks with a banking history dating back to 1809. Today, we at Bank of Valletta are Malta’s
largest public company having over 14,000 shareholders and with a sizeable branch network all
over the Islands that services the requirements of our esteemed clientele. Our international
network is supported by a number of representative offices in Australia, Canada, Italy, Libya and
Tunisia. Being a leading financial services provider, we are involved in providing an array of
products and services including: retail banking, trade and finance, private / investment banking,
fund management, internet banking, card services, bancassurance and stockbroking amongst
many more.
Apart from the mother company Bank of Valletta plc, the Group is further strengthened by two
subsidiaries, Valletta Fund Management and BOV Stockbroking Ltd, and an associate company
Middlesea Valletta Life Assurance Co. Ltd. To enhance our competitive edge and expertise fund
management operations and the bancassurance business, we have set up strategic alliances and
joint ventures with local and international financial institutions such as Insight Investments,
Munich Re and Middlesea Insurance. These ventures have created win win scenarios.
Our mission at BOV is to be an innovative, customer centric and creative organisation that
delivers personalised products and services, ensuring excellent careers for our people and
commitment to enhance the prosperity of the communities in which we operate. The strategies
we follow and the action we take are designed to create value for all our shareholders and
stakeholders.
Bank of Valletta’s future success depends on including the interests of all our stakeholders in
our business: our employees, our shareholders and the wider community where we work and
operate. As part of our corporate social responsibility at Bank of Valletta, we are committed to
contribute to the prosperity of the communities in which we operate and acknowledge the
responsibilities to invest in these to keep them vigorous and prosperous. This dimension goes
beyond the day to day operations of the Group. With the largest share of the Group’s community
investment devoted to education, health, welfare and community projects, BOV is also a strong
supporter of the arts, culture, sports, heritage restoration and environmental programmes. The
BOV Opera Festival is one such initiative that we look forward to support year in year out.
For further information on Bank of Valletta products and services and our role in supporting
the local communities we operate in, kindly visit our corporate web site or e-mail.
Bank of Valletta p.l.c., Valletta Fund Management Limited, BOV Stockbroking Limited and Middlesea
Valletta Life Assurance Company Limited are licensed to conduct investment services business by the MFSA.
Bank of Valletta p.l.c. is an insurance sub-agent of Middlesea Valletta Life Assurance Company Limited
and regulated by the MFSA. Middlesea Valletta Life Assurance Company Limited is licensed to carry on
long term business of insurance.
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TEATRU MANOEL
MAURO AVOGADRO
Artistic Director
Born in Turin in 1951, Mauro attended the
Accademia dell’Arte Drammatica ‘Silvio D’Amico’
in Rome between 1971-71. Soon he was working with
Luca Ronconi, founder of the Scuola del Teatro
Stabile di Torino, participating in the preparation
of many of his shows. These included Aristofanes’
Utopia, Ibsen’s Ghosts and Three Sisters, Pier Paolo
Pasolini’s Calderon, Shakespeare’s Measure for Measure,
Simone Weil’s Venezia salva and Kraus’s Gli ultimi
giorni dell’umanità.
In 1987 he started his work as director of his own
company, Associazione Culturale Isola, producing
Stravinski’s Histoire du soldat and D’Annunzio-
Malipiero’s Sogno di un tramonto d’autunno. He also directed Goldoni’s Il cavaliere e la dama for
the Festival di Borgio Verezzi (1994), with Annamaria Guarnieri, followed that same year by
Maurice Maeterlinck’s I ciechi and, in 1998, scenes from Tolstoj’s Death of Ivan Illic and Marguerite
Duras’s Il Dolore with Marisa Fabbri.
Mauro continued to collaborate with Ronconi on such projects as Berlioz’s La Damnation
de Faust, Janacek’s Il caso Makropulos and Pasolini’s Pilade, for both the Teatro Regio and Teatro
Stabile of Turin. For the Opera di Roma he directed L'Arlesiana, and then rejoined Ronconi on
Faust for the Opera Bastille di Parigi and the Scala di Milano.
Since then he has been a very busy director, with works by Donizetti, Verdi, Bellini, Scarlatti
and Giacosa at different locales, both in Italy and abroad. In more recent times he has produced
for diverse companies Thomas Bernhard’s L’ignorante e il folle, J.Goldman’s Il Leone d’inverno, and
M.Frayn’s Copenhagen which, after its debut in Udine, was transferred to a number of important
theatres. Between 1996 and 1999 Mauro was artistic director of the Festival di Chieri, and since
1997 has been director at the school of the Teatro Stabile of Turin.
Artistic Director’s Note:
“Is it possible to realise a musical masterpiece such as Mozart’s Don Giovanni for the stage?
The logical response of every stage director who dedicates himself to this endeavour should
be in the affirmative. But the present director, a cultivator of Mozart for several decades and a
spectator at numerous performances of Mozart operas, feels obliged to confess that, perhaps, the
staging narration, whether grand or sober, will always be lacking when confronting the sublime
heights and sublime lows inspired by this masterpiece.
With this in mind, only the enthusiasm of young singers, coupled with unbiased producers,
can offer a fertile terrain, thus inducing a director to accept the challenge. In what ‘believable’
context should one convey a story that places its credibility not among the folds of the characters’
personalities, or in society’s labyrinthine streets, but solely in the eternal conflict of good vs evil,
love vs death, rules vs transgression, all of which characterise the human spirit?
To approach all this we decided to draw the epoch of the 1700’s of Mozart and Da Ponte
nearer to the ‘dolce vita’ of the 1960’s – not to actualise, but to discover nearer to ourselves the
same contradictions in a world wavering between its own values and its own infamies. It is a
world in which Don Giovanni is nothing more than a catalyst; he is in fact like a virus the
contaminating force of which places everyone’s sacred certainties in discussion. He wages his
obstinate war to place life as a proud rival to the terrible conquerer of everyone’s destiny:
inescapable death.”
TEATRU MANOEL
1732

THE PERFORMERS (continued)
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TEATRU MANOEL
DOMENICO BELLANTONE, twenty year old tenor, hails
from Reggio Calabria where while still a youngster he began his vocal
studies. Apart from his first choral experiences in operas such as
Menotti's Amahl or Mozart's Così Fan Tutte, his first solo appearances
include Liszt's Missa Choralis, Bach's Wachet auf and Monteverdi's
Vespro della Beata Vergine. He has frequented masterclasses with Romolo
Gazzani (voice) and Gary Graden (choral). He is currently a student at
the University of Palermo D.A.M.S. in musicological studies.
LYDIA CARUANA, lyric soprano, made her operatic debut as
Musetta opposite Cecilia Gasdia’s Mimì in La Bohème in 1995. She has
since performed extensively overseas, and has sung the title roles in
Puccini’s Suor Angelica and Isouard’s Jeannot et Colin. In Spring 1997,
as part of the bi-centenary celebrations of Gaetano Donizetti, she sang
Norina in Don Pasquale. In 1999 she performed at the Edinburgh
International Arts Festival, Scotland, in a concert featuring Mozart,
Handel and Bach at St Giles Cathedral. That same year she sang the
title role in Carmelo Pace’s I Martiri at the Malta Opera Festival and
was then invited to sing for the Millenium celebrations. In November
2001 she sang for the United Nations at the WIPO Centre in Geneva.
She has also sung for the ‘Accademia Internazionale di Scienza e Cultura’
in tribute to celebrated tenor Giuseppe di Stefano, and at a SPAK
Puccini Gala Night opposite tenor Antonio Ordionez.
LORENA SCARLATA, mezzosoprano, made her debut in
1994, aged twenty, in Traetta’s Miserere, debuting two years later as
Fidalma in Cimarosa’s Matrimonio Segreto. But her first major assignment
was in Eliodoro Sollima’s Due Cantate which the composer himself
conducted. In 1997 Gian Carlo Menotti selected her as Mrs.Nolan for
Operalaboratorio’s production of The Medium. The following year she
was a finalist in the Di Stefano International Singing Contest in Trapani,
the understudy of Suzuki for the Michigan Opera Theatre’s Madama
Butterfly, and made her professional debut for Teatro Massimo in Henze’s
Pollicino. This was followed by La Sonnambula, Cenerentola, and, for
Teatro Garibaldi, La Finta Parigina. Last year she had an important
debut in Verdi’s La Traviata in Busseto with Placido Domingo conducting
and Franco Zeffirelli as stage director. Recently she sang in a production
of Fioravanti’s Le Cantatrici Villane in Lecce under artistic director Katia
Ricciarelli.
VINCENZO TAORMINA, baritone, studied voice under
Parride Venturi in Bologna and interpretation under Carlo Bergonzi
and has since attended numerous masterclasses. He made his opera
debut in Monteverdi’s Il Ritorno di Ulisse in Patria in Nurnberg, followed
by a Canadian concert tour, in collaboration with the ‘Istituto Italiano
di Cultura’, that took him to Vancouver, Montreal, and Ottawa. He
debuted for Palermo’s Teatro Massimo in their Scarlatti Festival in the
oratorio Davidis Pugna et Victoria and last year won the 56th European
Singing Competition at Spoleto. As a result he debuted for Spoleto in
Gnecco’s La Prova di un’Opera Seria in Budapest, and has also played
Malatesta in Donizetti’s Don Pasquale and Lescaut in Puccini’s Manon
Lescaut.
Foreword by BOV Chairman
It is with great pleasure that I welcome you to the
fourth edition of the BOV Opera Festival. I am
pleased that Bank of Valletta has contributed to make
this event a mainstay in Malta’s cultural calendar.
The success of the BOV Opera Festival can be assessed
from the ever-increasing audience of Maltese and
international opera lovers it attracts year after year.
Bank of Valletta is committed to be a leading patron
of local art and culture. The Bank has built a
reputation of being at the forefront in supporting
Maltese artists. Apart from our sponsorship of the
BOV Opera Festival, our contribution to arts and
culture in Malta includes the organisation at our
Head Office of a bi-annual retrospective art exhibition
featuring Maltese artists, the financing of restoration
projects and support to Maltese artists to exhibit their
works.
This year’s BOV Opera Festival featuring the two prestigious operas “Lucia di Lammermoor”
and “Don Giovanni” together with the Concert by the soloists of the Mariinsky Theatre should
prove to be another success. In this regard, I congratulate the Manoel Theatre Management
Committee for its efforts and valuable work to sustain the prestigious quality of performances
staged during this festival.
I take this opportunity to wish you all a most pleasant and enjoyable evening at the opera.
Joseph F X Zahra
Chairman
Bank of Valletta p.l.c.
TEATRU MANOEL
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1732
MOZART AND ‘DON GIOVANNI’
[Opera in two acts by Wolfgang Amadeus Mozart with Italian libretto by Lorenzo da Ponte based on another
opera “The Stone Guest” by Giuseppe Gazzaniga. It centres around the legendary seventeenth century lover
Don Juan, and was first performed in Prague on 29th October 1787. The opera was hailed as the world’s
greatest opera at the time it was composed. The critic Stephen Williams has written of it,“There is a demonic
power in this music that rises high above the formal, tonic-and-dominant framework enforced by the times.
There is real terror in it; and the final catastrophe will always be an astounding revelation of what genius
can do with limited harmonic resources, and a salutary shock to those who regard Mozart merely as a writer
of pretty tunes.” This pretty well ties with the statement made by three men well equipped to pass judgement
– Gioacchino Rossini, Charles Gounod and Richard Wagner – namely, that Mozart’s Don Giovanni is
“the greatest opera ever written”.]
TEATRU MANOEL
ACT I
Scene 1: Chased out of the house by Donna Anna’s father, the Commendatore, Don Juan engages
him in a duel and unwittingly kills him. Don Ottavio, Anna’s bethrothed, swears vengeance on
the perpetrator.
Scene 2: Don Juan and his faithful servant Leporello overhear a maiden moaning about the lover
who has deserted her. It transpires that the faithless lover is none other than Don Juan. Leporello
makes fun of her, saying that she is not the only one – not by a thousand! (Madamina! Il catalogo
e’ questo…)
Scene 3: In the countryside near Don Giovanni’s palace rustics are celebrating the approaching
wedding of Zerlina and Masetto. Attracted by Zerlina, Don Giovanni contrives to have Masetto
out of the way while he prepares to seduce the willing girl. But the arrival of Elvira, Anna and
Ottavio thwarts Don Giovanni’s plans. Anna gets wise to his philandering nature and goads
Ottavio to avenge her father’s murder. He vows he will. Don Giovanni’s answer is to hold a lavish
banquet at his castle at which all the women of the land are invited. Zerlina returns meekly to
Masetto and asks forgiveness for having flirted with Don Giovanni.
Scene 4: With the banquet in full swing, the revellers hear Zerlina’s cry for help. Don Giovanni
has made his move after all. The crowd, including Elvira, Anna and Ottavio, rush to her rescue,
but Don Giovanni manages to escape, brandishing his sword in defiance.
ACT II
Scene 1: Don Giovanni is back to his old tricks. He disguises himself as Leporello and lays siege
to Elvira’s maid. And when Elvira herself appears on the balcony it is Leporello who, in his
master’s clothes, takes her off to make love.
Scene 2: Anna and Ottavio bring hard evidence to prove to Elvira that Don Giovanni is a
murderer. Ottavio renews his pledge to avenge the death of Anna’s father (Il mio tesoro intanto…).
Elvira however believes herself to be still in love with Don Giovanni, despite the fact that he had
betrayed her.
Scene 3: In the early morning Don Giovanni and Leporello stare at the statue of the Commendatore
which the citizens of the land had erected in his honour. Don Giovanni mocks him by inviting
him to supper. And in the errie moonlight the statue nods his agreement!
Scene 4: The promise is kept, and in the midst of another bout of revelry the Man Marble appears.
Just like Banquo at Macbeth’s feast. He stretches out his hand, and Don Giovanni impetuously
grasps it – realising too late that it is the cold hand of death. In a scene of splendidly overwhelming
music, like an echo of the Last Judgement, the Statue calls on Don Giovanni to repent. But the
latter is not prepared to go back on his libertine ways, the creed that had guided him throughout
his life. In the end, marked by apocalyptic music of sheer grandeur, the devils arrive to lead the
unrepentant lover to his deserved doom.
THE CAST
in order of appearance
Don Giovanni Ugo Guagliardo
Leporello, his servant Giovanni Bellavia
The Commendatore Maurizio Lo Piccolo
Donna Anna, his daughter Natasa Katai
Don Ottavio, her fiancè Domenico Bellantone/Nunzio Gallì
Donna Elvira, a lady of Burgos Lydia Caruana
Zerlina, a country girl Lorena Scarlata
Masetto, her fiancè Vincenzo Taormina
Understudy Ivanna Speranza (Zerlina)
Chorus Master Fabio Ciulla
Assistant Chorus Master Salvatore Scinaldi
Chorus Fiammetta Bellanca, Barbara Burger, Roberta
Caly, Oriella Di Noto, Francesca Ferreri,
Simona Naso, Giacoma Sgroi, Valentina
Uccello, Valentina Vitti, Vincenzo Cuccia,
Emanuele Genovese, Giuseppe Esposito,
Salvatore Grigoli, Carlo Terzo
Artistic director Mauro Avogadro
Musical director Michael Laus
Orchestra leader Marcelline Agius
Production co-ordinator Elizabeth Smith
Musical preparation in Palermo Danilo Lombardini
Technical director Francesca Pipi
Set realisation Massimiliano Pipi
Costume design Francesca Pipi
Light designer Bruno Ciulli
Technical lighting assistant Salvatore Bianco
Production director Roberto Spicuzza
Production assistant Gioacchino Sorrentino
Harpsichord Salvatore Scinaldi
Assistant to artistic director Caterina Balistreri
Assistant stage director Sara Chiarelli
Stage manager Giovanni Vallone
Make-up & hair stylist Letizia Tedesco
Carpenters Nadia Campanotta, Alice Passalacqua,
Alfredo Velardi
Property masters Ginevra Tessitore, Gabriella Gallo
Stage maestro Clara Capozza
Lighting maestro Tiziana Nania
Organisation assistants Adriano Fontana, Alice Liberti
Stage crew Marco Cusimano, Anello Garofalo,
Salvatore Marfia
Booking office Michelle Mangion
Theatre supervisor Charles Ferò
The Management is grateful for the assistance given by H.E. Alvise Memmo, the Ambassador
for Italy, and D.ssa Rosanna Cravenna, Director Italian Cultural Institute.
With special thanks to Sig. Giuseppe Spicuzza (Teatro Orione), Sartoria Pipi and Teatro Stabile
Biondo di Palermo.
TEATRU MANOEL
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THE PERFORMERS
UGO GUAGLIARDO, baritone, made his debut in 1998
in Scontrino’s Gringoire at Teatro Politeama, in his native Palermo,
and in Petrassi’s Morte dell’Aria. He was then selected by the Fondazione
Teatro Massimo for roles in Manon Lescaut and Eugenio Onegin, at
the same time completing his piano studies at the Conservatorio
Vincenzo Bellini under Prof. Aurelia Sagnolo. In 1999 he debuted
for Operalaboratorio in Rota’s Una Notte di un Nevrastenico, and sang
and recorded Traetta’s Stabat Mater for Bongiovanni of Bologna.
Contracts at the Teatro Massimo followed in Gregoretti’s Una Favola
per Caso, Puccini’s La Bohème and Madama Butterfly, and Weill’s Lady
in the Dark. He participated in a cultural exchange between Operalab
and the city of Detroit, studying at the Michigan Opera Theatre,
and will soon complete his degree in philosophy. His next engagement
is with the Teatro Massimo in Verdi’s Macbeth.
GIOVANNI BELLAVIA, baritone, likewise made his debut
in 1998 in Scontrino’s Gringoire at the Politeama, followed by Malipiero’s
Capitan Spavento and Petrassi’s Morte dell’Aria, before being selected
by Teatro Massimo for Henze’s Pollicino. At the Michigan Opera
Theatre, in a cultural exchange between Operalab and the city of
Detroit, he understudied the role of Sharples in Madama Butterfly.
Two summer concerts with Teatro La Fenice in Venice followed. In
1999 he debuted for Operalaboratorio in Cimarosa’s La Finta Parigina,
directed by Enzo Dara, which he recorded for Bongiovanni of Bologna.
He then figured in Amahl and the Night Visitors and Così Fan Tutte.
Contracted by Teatro Massimo, he has sung in Werther, Tosca, Lady
in the Dark, Davide Re, Rigoletto, Les Contes d’Hoffmann and most
recently in Il Barbiere di Siviglia with Claudio Desderi conducting.
NATASA KATAI, soprano, started her career in 1993 by
winning prizes in her native Hungary. That same year she made
concert appearances in Rijssen, Delft (in Holland), in Rotenburg
(Germany), and in Messina, Trento and Giarre (Italy). Her first opera
role was at the National Theatre in Szeged as the Countess in Mozart’s
Le Nozze di Figaro. This was followed by roles in Pergolesi’s Stabat
Mater and her university music degree. In 2001 she sang her first
Fiordiligi in Mozart’s Così Fan Tutte in Palermo. Maltese audiences
have heard her before, in the Bellini Recital at Sala Isouard last year.
MAURIZIO LO PICCOLO, bass-baritone, debuted with
the Laboratorio Lirico in 1996 in Vinci’s Erighetta e Don Chilone and,
the following year, with Operalaboratorio in Donizetti’s I Pazzi per
Progetto under the direction of Enzo Dara who since then has called
him for Il Filosofo di Campagna at Mantova. Since 1999, always for
the Teatro Massimo, he has figured in Rosenkavalier, Manon Lescaut,
Eugenio Onegin, Una Favola per Caso, Rigoletto and most recently in I
Capuleti e I Montecchi. He has sang the role of Don Magnifico in
Rossini’s La Cenerentola at the Festival of Aix-en-Provence, repeating
the role in Paris and Rouen. Other important engagements include
Rota’s Il Cappello di Paglia di Firenze in Vienna, and Don Basilio in Il
Barbiere di Siviglia in Lyons. He has also debuted Colline in La Bohème
opposite Cecilia Gasdia. Last year he sang Guglielmo in Così Fan
Tutte at the Teatru Manoel.
TEATRU MANOEL
1732