In 2012, the Festival was extended to the rest of the year, enlarging the limits of its original summer months with the brilliant invention of the “Autumn Trilogy”, whose formula alternates three different operas on the same stage on consecutive nights. After the masterpieces of Giuseppe Verdi’s “popular” trilogy (Rigoletto, Trovatore, Traviata), the tribute to the composer from Busseto was replicated on his bicentenary, 2013, with his “Shakespearean” operas (Macbeth, Otello, Falstaff). In 2014 the trilogy offered the opportunity to admire the Ballet of the Mariinskij Theatre from St. Petersburg (Swan Lake, Giselle, ’900 Triptych), while in 2015 a tribute to Giacomo Puccini and his masterpiece La Bohème celebrated the genius of another universally known Italian composer. In 2016 new productions of the major Hungarian theatres (Countess Maritza by Kálmán, The Bat by Strauss, and The Merry Widow by Lehár) led the audience on a journey along the Danube river, a triptych dedicated to the operetta genre and the Middle-European culture. In 2017 the Trilogy brought three masterpieces “on the verge of the 20th century” to stage (Cavalleria rusticana by Pietro Mascagni, Pagliacci by Ruggero Leoncavallo and Tosca by Giacomo Puccini), while in 2018 back to Verdi with NabuccoOtello, and Rigoletto.  from November 23 to December 2 this extraordinary “opera marathon” will give 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.

This year, from 1 to 10 November, three extraordinary women, three different styles, three unmistakable moments of a century: Bellini’s Norma (1831), the greatest example of the belcanto style, is followed by Verdi’s Aida (1871), the heart of XIX-century melodrama. Then, a mere four years later, the new atmosphere that had led Verdi to retreat into a long period of silence began to take shape with Bizet’s masterpiece, Carmen (1875), whose irresistible drive anticipated the sentimental realism of Verismo. In an unexpected game of cross-references, Bellini’s nuances now penetrate Verdi’s score, which in its turn anticipates some future trends, bringing together three women who, carried by faith, love, and passion, claimed their absolute freedom, claimed their absolute right to choose a destiny of death.