Maria Agresta

Cio-Cio-San, the young Japanese bride of American naval officer Lieutenant Pinkerton, finds her romantic idyll shattered when he deserts her shortly after their marriage. She lives in hope that one day he will return. Three years later, Cio-Cio-San and her son, Dolore, see Pinkerton’s ship in the harbour. She excitedly awaits his visit – but when Pinkerton and his American wife Kate arrive and learn about Dolore's existence, they ask to take the boy away, and raise him in America. Cio-Cio-San bids her son farewell and takes her own life.

As Aragon descends into unrest, a count jealously fights for a noble lady's heart. But she has already given it to a passionate troubadour whose mother holds a terrible secret. Surpassing its hugely successful spiritual predecessor Rigoletto, Il Trovatore was an instant triumph. Verdi’s music is so passionate and transcendent that one almost loses sight of opera’s notoriously most implausible plot, complete with burning babies and bloodthirsty vengeance. NCPA's production of Verdi's opera Il Trovatore will be performing at Opera house of NCPA from October 23-27, 2019.

As Aragon descends into unrest, a count jealously fights for a noble lady's heart. But she has already given it to a passionate troubadour whose mother holds a terrible secret. This Verdi masterpiece overflows with dramatic tension and musical geniality, resulting in a story that increases in intensity throughout. Maria Agresta plays the unfortunate Leonora alongside Ludovic Tézier and Francesco Meli as her rival admirers in this new production at the Teatro Real.

The ambiguities of Verdi’s theatre are particularly clear in his baritone roles, among which is that of Boccanegra, corsair turned doge of Genoa and the troubled observer of the conflicts that tore apart 14th century landowners and peasants. An eminently political opera in which power struggles are interwoven with family conflicts, Simon Boccanegra echoes the life of its composer – the man who championed the cause of Italian unification and overcame the loss of his wife and children. Calixto Bieito, that most Shakespearean of opera directors, brings humanism and truth to a work haunted by gleaming images of the sea.

The first words uttered by Carmen mark one of the greatest entrances in the history of opera and express all that need be said: “Love is a rebellious bird that no one can tame…” With a devilish sway of the hips and a hint of Andalusian flair, the beautiful cigar-maker sets her sights on a soldier: Don José. Fate will do the rest.

On a June night in 2017, opera lovers thronged to the Royal Opera House in London to hear tenor Jonas Kaufmann, recently acclaimed by The Daily Telegraph as the world s greatest tenor, make his eagerly anticipated debut in the title role of Otello Verdi s greatest and most demanding role for tenor voice. As the New York Times wrote Mr. Kaufmann made his debut in the part, and he calmly, confidently sang it for the ages.

Salzburg Festival’s first-ever performance of Charles Gounod´s most famous and most performed opera! Internationally-acclaimed tenor Piotr Beczala triumphs in the title role as soul-selling philosopher Faust: “Piotr Beczala is a world-Faust” (Kurier) and “The well-deserved crown goes to a perfectly-cast Piotr Beczala” (Abendzeitung). Ildar Abdrazakov was “celebrated” (Broadway World) for his signature role as seductive and demonic Méphistophélès. Maria Agresta as convincingly innocent Marguerite struggling to resist temptation and to gain salvation: “She is fabulous!” (Süddeutsche Zeitung). “Spectacular and photogenic” staging (Frankfurter Allgemeine Zeitung) by award winning stage director and designer Reinhard von der Thannen. The Philharmonia Chor Wien and the Wiener Philharmoniker are performing under the baton of young Argentinian conductor Alejo Pérez.

The Salzburg Festival presents one of Charles Gounod's most well-loved opera: Faust, in a new production staged by Reinhard von der Thannen, conducted by Alejo Pérez and starring Piotr Beczala.

As comparably short operas, Cavalleria Rusticana and Pagliacci are often billed together, but seldom is the lead tenor making his double role debut as Turiddu and Canio on the same evening. At the 2015 Salzburg Easter Festival, Jonas Kaufmann did just that to rapturous praise. Universally hailed as a coup for Kaufmann, the plaudits were also showered on Philipp Stölzl for his innovative staging which includes live video projections while referencing the era of black-and-white movies.

Visually this is a gripping production which captures the drama of this opera perfectly. It's downright exciting! and I found the singing, acting, and orchestral playing reasonably fine. I found only one major problem with it, a problem that kept Puccini for quite a few years. Turandot has been looking for an opportunity to kill Calif and Calif has singlemindedly tried to get Turandot to love and wed him focusing on her and ignoring a better looking girl who loves him truly. The problem is how to get the audience to applaud the match once Calif gets his wish. Puccini couldn't figure out how to do it. The traditional quick ending doesn't do it, and Berio's attempt is longer , tries its best, but ends up making it plain this is one wierd couple.

In Giuseppe Verdi's little-known early tragedy, a despairing father is torn between love for his family and his duty to a corrupt city. Jacopo Foscari, son of a 15th-century Doge of Venice, is convicted of murder and treason on a trumped-up charge. His wife Lucrezia is sure of his innocence. But the Doge, trapped by the machinations of the city, is forced to make a terrible decision.

To stage Verdi's Il Trovatore, according to Arturo Toscanini, you need to bring together the four best singers in the world. This stunning production at Milan's La Scala unites four luminaries of today's opera scene to great effect: with his lilting legato, Marcelo Álvarez (Manrico) does justice to the opera's bel canto character; Franco Vassallo brings assurance and flair to the Count di Luna; Maria Agresta (Leonora) effortlessly rises to the challenges of the score; and Ekaterina Semenchuk (Azucena) also masters the most difficult notes. With the fastidious Daniele Rustioni leading La Scala's world-class orchestra, the music leads the action apace, resounding alongside the hall's legendary chorus and amid monumental sets and decor in this sublime production of one of the world's favorite operas.