Edoardo is a philosophy student in Torino, Italy. He has always been fond of classical music and operas and tries to combine his philosophical studies with music and especially philosophy of music. He is particularly enthusiastic about opera modern adaptations. Edoardo also maintains a strong passion for films, literature and travelling. He also writes reviews in Italian for Operaclick.
Thanks to Wilson, to an orchestra in great shape, and to an excellent cast, this production was a success. Everybody did his best in the orchestra and in the chorus, without disregarding the soring passages of the score.
Visually traditional, this Norma often indulged on the most predictable aspects of Vincenzo Bellini’s opera, unfortunately missing the opportunity of bringing a bigger audience to the theatre and showcasing the vastness of Italian opera.
Stefano Poda’s deeply intellectual mis-en-scene immersed the bourgeois love affair between Marguerite and Faust in an abstract and transcendental tangle of philosophical, existential and liturgical motifs. However, an overflowing symbolism sounded sometimes academic, but the visual effects were suggestive if not properly enchanting.
Vittorio Borrelli’s production of Hänsel und Gretel in Turin offers a refined mise-en-scène focusing on the tiny, playful and colourful aspects of the plot.
Despite its happy ending, Vincenzo Bellini’s last opera I puritani is a 19th century opera permeated by deathly shadows, disenchantment, fading of love and sentiments forced or burdened by political intrigues.
Alden’s mise-en-scène developed the most modern aspects of Il turco's libretto. The stage not only showed what the Poet was participating towards, but the other characters also seemed to perform the poet’s conception of his own work.
Elena Barbalich's mis-en-scene for Le nozze di Figaro in Turin seemed a swirling game of Chinese boxes, but the vocal performances were full of vitality.
An intriguing combination which mixes up together the exuberant sensuality of Granados’ one-act-opera, the gloomy shades and the melancholy liturgy of Suor Angelica.
Valery Gergiev doesn’t aim for technical perfection or for unimpeachable execution: he conducts with almost mystical enthusiasm, drawing all the orchestra with uncontrollable ardour in this magnificent music, so deeply Russian.
in Turin, British director Walter Sutcliffe sets Otello right in the middle of a never-ending battle and Gianandrea Noseda leads a passionate, rigorous account of the score.
Jordi Savall conducts ‘Le Concert des Nations’ playing suites from Baroque’s controversial Jean-Philippe Rameau. The varied programme of the Italian music festival, Mito, is enriched with this historical hint of Baroque music.
Lapland Chamber Orchestra debuts at the Proms with a brilliant performance ranging from unusual classical pieces such as Sibelius’s intimate and tender Rakastava to disturbing contemporary pieces by Birtwistle and Davies.
