Autumn Trilogy

Nabucco

opera in four acts
libretto Temistocle Solera
from the play Nabuchodonosor by Auguste Anicet-Bourgeois and Francis Cornu
and from the ballet Nabuccodonosor by Antonio Cortesi

music Giuseppe Verdi
(Casa Ricordi, Milano)

Nabucco Serban Vasile
Ismaele Riccardo Rados
Zaccaria Evgeny Stavinski
Abigaille Alessandra Gioia
Fenena Lucyna Jarząbek
Abdallo Giacomo Leone
Anna Renata Campanella
High Priest of Ion Stancu

conductor Pietro Borgonovo
direction and concept
Cristina Mazzavillani Muti
light design
Vincent Longuemare
visual designer Davide Broccoli
visual consultant Paolo Miccichè
sound designer Alessandro Baldessari
costume design Alessandro Lai

Orchestra Giovanile Luigi Cherubini
Coro Lirico Marchigiano “Vincenzo Bellini”
choirmaster
Martino Faggiani
other choirmaster Massimo Fiocchi Malaspina

“DanzActori” Trilogia d’autunno
stage manager Luigi Barilone

répétiteurs Alessandro Benigni, Davide Cavalli
set design
Laboratorio del Teatro Alighieri
costumi Tirelli Costumi Roma footwear Pompei Roma

new production
co-production
Ravenna Festival, Teatro Alighieri di Ravenna, Teatro Comunale di Ferrara


A new lyric marathon: three operas performed on the same stage on consecutive nights, tight rhythms and a workshop that plays on invention and creativity matching young talents and modern technologies. This is the Autumn Trilogy, which once again delves into Verdi’s world and genius, transforming the stage of the Alighieri Theatre into a true “opera factory” giving body and voice to three different steps in the composer’s artistic career. A new production alongside two creations from the “repertoire” of past Autumn Trilogies, in an ideal journey from the biblical, choral inspiration of Nabucco to the beacon of light out of darkness kindling the soul of Rigoletto, down to the dramatic colour contrast that unites/separates Otello and Desdemona.

A trilogy intended to retrace Verdi’s extraordinary creative career had to start with Nabucco (1841), the opera through which the composer managed to overcome fate’s adversity and get his life back on track as a man and a musician. An opera whose biblical and prophetic dimension culminates in a choral tapestry capable of incorporating different individualities into an ideal union of peoples and nations. This score laid the basis for Rigoletto (1851), which soon became the first part of a “popular trilogy” and the author’s own favourite work because of the vivid description of the protagonist within a perfect dramatic unity. And, after all, Nabucco also laid the foundations for the entirely renewed conception of Otello (1887), inspired by Shakespeare, the inevitable culmination of Verdi’s search for “climactic words” (parola scenica).