• 16th July 2010 – La Fanciulla Del West
• 17th July 2010 - Madama Butterfly
• 23rd July 2010 - La Fanciulla Del West
• 24th July 2010 - Tosca
• 25th July 2010 - Le Villi - Carmina Burana
• 30th July 2010 - Tosca
• 31st July 2010 - Turandot
• 1st August 2010 - Madama Butterfly
• 6th August 2010 - Turandot
• 7th August 2010 - La Fanciulla Del West
• 8th August 2010 - Tosca
• 11th August 2010 - Romeo & Giulietta Ballet
• 12th August 2010 - Turandot
• 13th August 2010 - Tosca
• 14th August 2010 - Madama Butterfly
• 20th August 2010 - Turandot
• 21st August 2010 - Tosca
• 22nd August 2010 - Madama Butterfly

Dates are confirmed and to check the casts for the Operas click on the above tabs, ahead this year. Dates and casts informations are courtesy supplied by the Puccini’s Festival Organization.

• July 16th, Friday 2010 at 09:15 pm
  
• July 23rd, Friday 2010 at 09:15 pm
  
• August 7th, Saturday 2010 at 09:15 pm
  

Libretto by
Carlo Zangarini and Guelfo Civinin

Music by
Giacomo Puccini

La Fanciulla del West is an opera in three acts by Giacomo Puccini. La Fanciulla del West premiered at The Metropolitan Opera, New York , December 10, 1910

Synopsis:

It is California , during the years of gold-rush fever,1849-1850. Minnie runs a bar for the miners, mothering them, and caring for their spiritual welfare. Sherrif Jack Rance is in love with Minnie, but his affections are not returned. The miners are gathered playing cards when Ashby, the Wells Fargo Agent, arrives and tells Rance that he is following the trail of a notorious bandit, Ramerrez. A stranger, Dick Johnson ( Ramerrez in disguise ) enters, looking for a drink. He and Minnie recognize each other from having met many years before, and much to the Sherrif's annoyance, she and the stranger dance together. The capture of one of Ramerrez's accomplices is announced, and the robber is dragged into the bar. Recognizing Johnson/Ramerrez, he bluffs that he can lead the men to the bandit's hideout and they all depart, leaving Minnie and Johnson alone. Learning that she alone guards the miners' treasure of gold with her life, he abandons his original plan to rob the saloon and accepts Minnie's invitation to her cabin for dinner. Act II: Minnie tells Johnson of her exciting life in the mountains, and they declare their love for each other. They are interrupted by banging on the door: it is Sherrif Rance with some of his men. Minnie quickly hides Johnson, and the Sherrif enters to tell her that he has discovered that the stranger, Dick Johnson, is really Ramerrez in disguise. Minnie sends them away and becomes furious with Johnson for deceiving her. Even although there is a blizzard raging outside, Minnie sends him out into the night. No sooner has he left than a shot rings out: the Sherrif, seeing Johnson leaving the cabin, has wounded him. Minnie, overcome by love, helps Johnson back inside and hides him upstairs in the attic. Sherrif Rance returns and demands Johnson/Ramerrez. He is just about to leave, having been convinced by Minnie that Johnson is not there, when a drop of blood falls from the loft onto his hand. In desperation, Minnie strikes a bargain with the sherrif: they are to play a hand of poker, and if she loses, she will become Rance's and Johnson will be brought to justice. However, if she wins, Johnson will be allowed to go free. Minnie wins by cheating and Rance leaves, furious at having lost the bet. Act III: After recovering from his wound under Minnie's care, Johnson leaves her and is captured by the miners, who plan to hang him. Pleading with them to tell Minnie nothing of his fate, only that he found a new life far away, Johnson asks them to finish the job quickly. Minnie arrives at the last moment and begs for Johnson's life, reminding the miners of all she has done for them, and saying that the greatest teaching of love is that the worst sinner can be redeemed. Despite Rance's jealous protests, Johnson is freed by the crowd and he and Minnie leave to find a new life together.




Dates and casts informations are courtesy supplied by the Puccini’s Festival Organization.

• 17th Saturday July 2010 at 09:15 pm
  
• 1st Sunday August 2010 at 09:15 pm
  
• 14th Saturday August 2010 at 09:15 pm
  
• 22nd Sunday August 2010 at 09:15 pm
  

Libretto by:

Giuseppe Giacosa and Luigi Illica

Music by:
Giacomo Puccini

Direction by:

Vivian Hewitt

Scenes Costumes:

Kan Yasuda

Orchestra and Chorus of the Puccini's Festival

Cast:

Cio Cio San by:

Suzuki by:

Kate Pinkerton by:

B.F. Pinkerton by:

Sharpless by:

Goro by:

Uncle Bonzo by:

Prince Yamadori by:

First performance at Torino, Teatro Regio, 1° February 1896

In 1900, Giacomo Puccini was in London for the first English Tosca, when he saw at the Duke of York's Theatre a play by David Belasco based on John Luther Long's short story, Madama Butterfly. The first premiere of Madama Butterfly took place on February 17, 1904, at Milan 's La Scala. The second premiere of Madama Butterfly , the opera as we know it today, was given at Brescia at Teatro Grande on May 28, 1904.

Synopsis:

Pinkerton, an American naval officer stationed in Nagasaki , has arranged through a marriage broker to marry a fifteen year old geisha, Butterfly. Although he is captivated by her, Pinkerton does not take the marriage seriously, and the Consul warns him against the union, indicating that Butterfly is very serious about her marriage to him. When the ceremony is over, Butterfly's uncle denounces her for abandoning her faith and embracing the Christian god. Her family desert her, but she is placated by her new husband's tender attentions. Three years pass, and Pinkerton has been gone since soon after his 'wedding.' Butterfly waits patiently for his return, despite the fact that her faithful maid, Suzuki, warns her that he will never come back. The Consul arrives with a letter from Pinkerton, but before he can tell her of its contents-that Pinkerton is returning with his 'real' wife, an American-Butterfly reveals that she has had a son by the officer. The Consul leaves without delivering Pinkerton's message, and Butterfly continues to wait in hope. Cannon fire in the harbor announces the arrival of a ship, and through a telescope, Butterfly can tell it is Pinkerton's. She and Suzuki decorate the house with cherry blossoms as they await Pinkerton's arrival. Dawn arrives, and Butterfly is exhausted from waiting up all night. Suzuki sends her to go and rest, and while she is gone, Pinkerton and Sharpless arrive. Pinkerton's new wife, Kate, waits quietly in the garden as the men try to enlist Suzuki's help in getting Butterfly to hand over the child. Pinkerton leaves, overcome with emotion that the memories of the house invoke in him: he decides not to see Butterfly and departs. Butterfly enters and realizes the awful truth: the woman in the garden in Pinkerton's wife and wants to take her child. Butterfly instructs her to tell Pinkerton to return for his son in half an hour. Kate and the Consul leave to give the officer this message, and Butterfly prepares herself for what will be her final act: to take her own life. But the arrival of the child, whom Suzuki has sent into the room, momentarily restrains her. She blindfolds the child and withdraws behind a screen with her father's sword with which she plans to meet her end. As she commits hari-kiri, Pinkerton rushes in calling her name, but too late: Butterfly falls dead to the ground. Rodolfo lights it for her, but it goes out again. His hand grazes hers and finding it very cold, he takes her hand in his to warm it, telling her of his poet's dreams. She tells him a little about herself, and the two begin to fall in love. They leave to join Rodolfo's friends at the cafe, where they have a wonderful evening at the unexpected expense of an elderly admirer of Musetta's, Marcello's beloved. Some weeks later, Mimi tells Marcello that Rodolfo's insane jealousy is forcing them apart. Rodolfo appears unexpectedly and Mimi hides behind a tree. Rodolfo tells Marcello that Mimi is ill, and that she should be with someone who can take better care of her than he can. Mimi's coughing cannot be subdued, and Rodolfo discovers her behind the tree. The lovers reconcile, and go off arm in arm. In the final act, Rodolfo and Marcello are in their attic room with their two friends. Musetta arrives with news that Mimi is outside, too ill to climb the last stairs to her room. Rodolfo brings her inside, where he settles her on the bed. Musetta gives up her earrings, and Colline his coat to buy medicine for the dying Mimi. Alone for a short time, the lovers reminisce and talk of their love for each other. The others return, but it is too late: Mimi quietly dies as Rodolfo pours out his grief over her body.

Dates and casts informations are courtesy supplied by the Puccini’s Festival Organization.

• 24th Saturday July 2010 at 09:15 pm
  
• 30th Friday July 2010 at 09:15 pm
  
• 8th Sunday August 2010 at 09:15 pm
  
• 13th Friday August 2010 at 09:15 pm
  
• 21st Saturday August 2010 at 09:15 pm
  

Production, Sets & Costumes by:

Director:

Music Director by:

Chorus's Director by:

Orchestra and Chorus of the Puccini's Festival

Floria Tosca by:

Mario Cavaradossi by:

Kate Pinkerton by:

Scarpia by:

Cesare Angellotti by:

Spoletta by:

Sciarrone by:

Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Victorien Sardou's drama, La Tosca. The work premiered at the Teatro Costanzi in Rome on January 14, 1900.

SYNOPSIS

In the interior of the church of Sant’Andrea della Valle, the painter Cavaradossi discovers his old friend Angelotti, an escaped political prisoner who is now in flight and hiding from the prison guards, who are looking for him led by the evil Scarpia, Chief of Police. Cavaradossi is pledging to help his friend when Tosca arrives, jealous because she heard her lover whispering with someone, although now he is alone. The painter reassures her and Tosca departs, after the two agree to meet that evening. Angelotti reappears, and Cavaradossi takes him to hide at his villa outside the city. Choristers and acolytes arrive to celebrate the Te Deum, and Scarpia enters looking for Angelotti, bringing a sombre mood to the proceedings. Tosca returns looking for Cavaradossi: she has been engaged to sing that evening and cannot meet him as planned. Scarpia seizes the opportunity to play upon Tosca’s jealousy, and filled with insecurities, she rushes away to Cavaradossi’s villa in search of him. Scarpia sends his henchman, Spoletta, to follow her. Against the background of the Te Deum, Scarpia expresses his burning desire to possess Tosca. Scarpia is having supper in his apartment at the Palace. Tosca’s voice can be heard in the background, singing at the engagement she had previously made. Cavaradossi is dragged in for questioning, but he refuses to give up his friend Angelotti. Scarpia, infuriated by the painter's obstinacy, writes a note summoning Tosca. She arrives to find the painter manacled, but he begs her in a whisper not to betray Angelotti. Cavaradossi is taken to the next room, leaving Tosca and Scarpia alone. As he is tortured, Tosca is unable to withstand any of her lover’s cries of agony and reveals Angelotti’s whereabouts. Cavaradossi is brought back and scolds Tosca bitterly; but Scarpia has the two of them just where he wants them, and begins to put into practice his diabolical plan to have Tosca at any cost. He orders that Cavaradossi is taken and imprisoned at Castel Sant’Angelo, where he is to be shot at dawn. Tosca entreats Scarpia to show mercy; Spoletta enters with news that rather than be recaptured, Angelotti has taken his own life. Scarpia offers Tosca a despicable deal: he will trade Cavaradossi’s life for a night of passion with her. When Tosca agrees, Scarpia tells her that there will be a mock execution at dawn, after which she and her lover can flee together. He writes her a passage of safe conduct, and as he begins to make her odious advances towards her, Tosca plunges a knife into him, snatched from Scarpia’s own supper table. Dawn, on a parapet of Castel Sant’Angelo. Cavaradossi is brought up from his cell in preparation for his execution. Tosca arrives and explains that the firing squad will be using blanks, and that she has put an end to Scarpia’s evil ways forever. They dream of their future happiness together, the executioners file in, and the execution takes place. When everyone has gone, Tosca calls to her lover to rise. He is still. To Tosca’s horror and disbelief, when she pulls back the cloth that had been placed over his body, she discovers that Scarpia has cheated her after all, and her lover is dead. Spoletta rushes in to arrest Tosca, having found Scarpia’s murdered body, but Tosca has other ideas: she hurls herself over the parapet to her death.

Dates and casts informations are courtesy supplied by the Puccini’s Festival Organization.

• 31st Saturday July 2010 at 09:15 pm
  
• 6th Friday August 2010 at 09:15 pm
  
• 12th Thursday August 2010 09:15 pm
  
• 20th Friday August 2010 at 09:15 pm
  

Scenes:
Ezio Frigerio

Direction by:
Maurizio Scaparro

Costumes:

Franca Squarciapino

Assistant Direction by:

Susanna Attendoli

Chorus's Director by:

Stefano Visconti

Orchestra and Chorus of the Puccini's Festival

Turandot by:

Calaf by:

Liu' by:

Timur by:

Ping by:

Pong by:

Pang by:

Altoum by:

Text by:

Giuseppe Adami & Renato Simoni

Adaptation by:

Carlo Gozzi

Music & Libretto by:

Giacomo Puccini

First performed April 25, 1926 in Milan.

SYNOPSIS

In Peking, the Princess Turandot has decided she will marry only he who will be able to answer three riddles. If he fails,he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon's rising. In the crowd, a slave girl, Liù, kneels by her aged master,who has fallen from exhaustion. A handsome youth, Calaf, recognizes the old man as his long lost father, Timur. Turandot appears, and with a contemptuous gesture she orders that the execution proceed. Then she vanishes. As the death cry is heard from the distance, Calaf, transfixed by the beauty of the princess, strides to the gong that announces a new suitor. Suddenly Turandot's three ministers, Ping, Pang, and Pong, materialize to discourage him. In their Palace apartments, Ping, Pang, and Pong lament Turandot's bloody reign, praying that love will conquer her icy heart and restore peace. Within the walls of the Imperial Palace, the old Emperor vainly asks Calaf to reconsider. Heralded by a chorus of children, Turandot enters to describe how her beautiful ancestor, Princess Lou-Ling, was abducted and killed by a conquering prince; in revenge, she has turned against men and determined that none shall ever possess her. Facing Calaf, she poses her first question: What is born each night and dies each dawn? "Hope," Calaf answers, correctly. Unnerved, Turandot continues: What flickers red and warm like a flame, yet is not a flame? "Blood," Calaf replies after a moment's pause. Shaken, Turandot delivers the third riddle: What is like ice but burns? Tense silence prevails until Calaf triumphantly cries, "Turandot!" While the crowd expresses thanks, the princess vainly begs her father not to give her to the stranger. Hoping to win her love, Calaf offers Turandot a challenge of his own: if she can learn his name by dawn, he will forfeit his life. In the Imperial Gardens, Calaf hears a proclamation: on pain of death no one in Peking shall sleep until Turandot learns the stranger's name. Calaf foresees victory for his love, but Ping, Pang, and Pong try to bribe him to leave the city. As the fearful mob threatens him with daggers to learn his name, soldiers drag in Liù and Timur; Calaf tries to convince the mob that neither of them knows his secret. When Turandot appears, commanding the dazed Timur to speak, Liù cries out that she alone knows the stranger's identity and will never reveal it. Though tortured, she remains silent. Impressed by such fortitude, Turandot asks Liù's secret. "Love," replies the girl. When the soldiers intensify the torture, Liù tells Turandot that she, too, will know the joys of love and then snatches a dagger and kills herself. The crowd, fearing her ghost, forms her funeral procession. Turandot, veiled by her attendants, remains alone to confront Calaf, who tears the covering from her face and impetuously kisses her. Knowing emotion for the first time, Turandot weeps. Calaf, now sure of winning her, reveals his identity. Once again before the Emperor's throne, Turandot declares she knows the stranger's name: it is Love. The court salutes the power of love and life.

Dates and casts informations are courtesy supplied by the Puccini’s Festival Organization.

• 9 Saturday August 2008 at 09:15 pm
  
• 16 Saturday August 2008 at 09:15 pm
  

Production & Sets by:
Roger Dean

Costumes by:
Freyjan Dean

Director:

Vivien A. Hewitt

Music Director by:

Pier Giorgio Morandi

Chorus's Director by:

Stefano Visconti

Orchestra and Chorus of the Puccini's Festival

Edgar by:

Marco Berti

Fidelia by:

Cristina Gallardo-Domas

Tigrana by:

Rossana Rinaldi

Frank by:

Luca Salsi

Gualtiero by:

Rafal Siwek

First representation Teatro alla Scala, 21 April 1889 in Milan

SYNOPSIS

The farmers return from the fields in the afternoon. Edgar has been sleeping in a tavern. His girl friend, Fidelia, awakens him and both go home. At the instigation of Edgar's father, Gualtiero, Tigrana, a gypsy girl, ridicules him because of his affection for innocent Fidelia. Fidelia's brother, Frank, is attracted by Tigrana's charm. Tigrana sings a bold song when the mass is celebrated and arouses the farmers' anger. Edgar defends her, and is seduced by her beauty. He flees with her. Edgar regrets his life with Tigrana and wants to go back to Fidelia. Tigrana is unable to dissuade him from this intention. Frank, now a military commandant, visits them. Edgar joins the army and leaves Tigrana. She swears vengeance. Edgar dies in the war and is interred. A monk stirs up sentiment among the people against the dead man. Fidelia, who kneels by the coffin, mourns Edgar's death and defends him. Then she leaves with her father. Tigrana and the mysterious monk still curse at Edgar so much that the aroused townspeople tear open the coffin — inside there is only a suit of armor. The monk takes off his cloak and is recognized — he is Edgar. He threatens Tigrana and she runs away. Edgar embraces Fidelia. Tigrana, who is jealous, appears silently and stabs Fidelia. Edgar takes the dying Fidelia into his arms and Tigrana is arrested by the soldiers.

Dates and casts informations are courtesy supplied by the Puccini’s Festival Organization.