Aquiles Machado

The musical notes of this Puccini masterpiece provide the starting point and foundation for a new, highly successful collaboration between Riccardo Chailly and Davide Livermore. In their interpretation, there is “no moment, no movement, that goes against the musical meaning” (R. Chailly). The result is an energetic, authentic, and atmospherically strong Bohème, “in which every sacred phrase receives its own orchestral colour, its own dynamic and its own expression.” (Corriere della Sera)

Part of Tutto Verdi series - I masnadieri (2012) Naples. 'I masnadieri' ('The Bandits' or 'The Robbers') is an opera in four acts by Giuseppe Verdi to an Italian libretto by Andrea Maffei, based on 'Die Räuber' by Friedrich von Schiller. As Verdi became more successful in Italy, he began to receive offers from other opera houses outside the country. The London impresario Benjamin Lumley had presented Ernani in 1845 and, as a result of its success, commissioned an opera from the composer which became 'I masnadieri'. It was given its first performance at Her Majesty's Theatre on 22 July 1847 with Verdi conducting the first two performances.

Director Stefano Poda set the action in the mid 19th century. There’s not a piece of furniture in the whole show. Just a lot of slabs which change position as the opera progresses. There were also a lot of non-singing characters in strange poses who popped up here and there. This sort of staging is not the usual for the Parma house which typically stays close to the traditional. There’s nothing wrong with the staging that a first rate musical effort couldn’t overcome. But that effort was not forthcoming.

Including world-class artists such as Bryn Terfel, Cecilia Bartoli, Anne Sofie von Otter, Jose Cura, Simon Keenlyside and Agnes Letestu, this 50-minute sampler will give you a taste of many beloved classics in opera and ballet.

Madrid's legendary Teatro Real staged this production of Giacomo Puccini's seminal opera La Bohème, starring Inva Mula, Aquiles Machado and Jesús López Cobos in the principal roles. Giancarlo del Monaco directed for the stage, Michael Scott designed the sets and costumes, and The Chorus and Orchestra of the Teatro Real provide musical accompaniment.

Giancarlo Del Monaco's passionate and intelligent production of Jacques Offenbach's magnum opus creates a climactic kaleidoscope of deep and convincing emotions. A highly credible incarnation of the pitiable Kleinzach he sings about, Aquiles Machado is the poet who loses his romantic idealism, his reflection and finally his soul to a 'trio of charming enchantresses'.

At the end of July 2002 the time had come again. An audience of 5000 had gathered to listen to the new production of Gaetano Donizetti’s L’elisir d’amore under the direction Saverio Marconi, conducted by Niels Muus. The orchestra was seated in an enormous box that was put on the stage, while the singers, in traditional costumes by Silvia Aymonino, performed on stage in front of it, among them the young Valeria Esposito as Adina, Aquiles Machado in the role of Nemorino, Enrico Marrucci as Belcore and the very young Erwin Schrott as Dulcamara.

Rigoletto is a jester in the court of the Duke of Mantua. He has a hunch-back and he's rather unattractive, but he's good at his job of humiliating the courtiers for the amusement of the Duke. The courtiers, of course, are not amused. The Duke is a ladies man who feels his life would be meaningless if he couldn't chase every skirt he sees. In fact, we learn as the opera begins that he's recently been noticing a young lady every Sunday on her way to church, and he's vowed to have his way with her. What nobody realizes is that the girl is the jester's beloved daughter, Gilda, and that Gilda has seen the Duke every Sunday and is smitten with him. Suddenly Count Monterone appears at court, furious that the Duke has seduced his daughter. Rigoletto ridicules Monterone, the Duke laughs, and Monterone casts an awful curse on both of them. Later, the courtiers discover that Rigoletto is secretly living with Gilda...