Arena di Verona Festival (Verona Arena Festival) is a summer festival of opera, located in the city of Verona, Italy. Since 1936, it has been organized under the auspices of an official body, first the Ente Autonomo Spettacoli Lirici Arena di Verona, (Autonomous organization for lyrical productions of the Arena di Verona), and then, following legislation in 1996 and 1998, the Ente Lirico Arena di Verona was transformed into a private foundation, the present-day Arena di Verona Foundation.
Opera performances are given in Arena di Verona, an ancient Roman amphitheatre, which was capable of holding 30,000 spectators. Performances traditionally begin at dusk and spectators on the stone seats of the arena bring small candles (the "mocoleto"), which are lit as darkness falls and the performances begin.
The first operas were performed in 1913 in celebration of the centenary of the birth of Giuseppe Verdi and were produced by the tenor Giovanni Zenatello and the theatre impresario Ottone Rovato. Their staging of Aida in the biggest open-air lyrical theatre in the world began a long tradition. In the following year Zenatello and others returned and, in the years before 1936, a variety of organizations took over the presentations. These included the Lyrica Italica Ars from 1919 to 1920, the Casa Musicale Sonzogno of Milan from 1921 to 1922, and the impresario Gino Bertolaso from 1923 to 1926, while, in 1934 another organization, the Ente Comunale degli Spettacoli (the municipal performance association) took over the summer festival. Finally, in 1936, a permanent organization was created.
Many singers made their names and careers by performing at Verona. In 1929 Beniamino Gigli thrilled audiences with his appearances in Flotow's Martha . Between 1947 and 1954 Maria Callas was a regular after creating a sensation in Ponchielli's La Gioconda .
In addition to singers, directors and designers added distinguishing elements to productions such as the 1953 water pool created for Aida by silent cinema director Georg Wilhelm Pabst. His aim was to conjure up the image of the Nile on which little Egyptian boats could sail, and the idea was adapted by Pier Luigi Pizzi again in Aida in 1999. Also, it was Pabst who was responsible for the introduction of a great number of animals on stage, including elephants, horses and dromedaries, and this form of spectacle has become a prominent feature of many opera productions in Verona.
Dance and classic concert performances have also been given in the Arena. Classical ballets and traditional dances from all over the world have been seen. In 1976, Maurice Béjart brought the Ballet du XXe Siècle from La Monnaie in Brussels and choreographed Beethoven's Ninth Symphony. This première was interrupted by rain, but the performance continued to a cassette tape of the music and without the orchestra.
In July 2022, following the release of publicity photos for a performance of Aida at the Arena di Verona, soprano Anna Netrebko and the opera company both faced heavy criticism for the use of blackface; the titular character of the opera being an Ethiopian princess.
Responding to criticisms, the festival cited historical precedent, claiming it is "very hard to change" the production to avoid the use of blackface. [1] Of note, this staging dates from 2002. [2] Subsequently, soprano Angel Blue canceled her upcoming performances at the Arena di Verona, citing the company's insistence on maintaining the practice. In an Instagram post, she wrote: "The use of blackface under any circumstances, artistic or otherwise, is a deeply misguided practice based on archaic theatrical traditions which have no place in modern society. It is offensive, humiliating, and outright racist." [3]
Other notable singers to have publicly spoken out against the use of blackface in opera include the mezzo-soprano Jamie Barton who cited this performance directly, [4] and Stephanie Blythe, who suggested an abstention from performing operas that have typically featured white singers made up to appear as other ethnicities. [5] Nigerian American baritone Babatunde Akinboboye posted on TikTok and Instagram, condemning Netrebko's use of blackface and disputing the opera company's claim that blackface is still a necessary practice. [6]
Since 1976 the organization has expanded its artistic activities from October of one year to May of the following year in the rebuilt Teatro Filarmonico, a theatre which had been destroyed in World War II. With this new addition, the organization could accumulate a permanent collection of artists (the orchestra, the choir and the corps de ballet) and technicians who represent the productions that are staged in Verona and transported nationally and internationally.
Giovanni Zenatello was an Italian opera singer. Born in Verona, he enjoyed an international career as a dramatic tenor of the first rank. Otello became his most famous operatic role but his repertoire also included French roles. In 1904, he created the part of Pinkerton in Madama Butterfly.
The Verona Arena is a Roman amphitheatre in Piazza Bra in Verona, Italy, built in 30 AD. It is still in use and serves as a venue for large-scale opera performances.
José Luis Victor Cura Gómez is an Argentine operatic tenor, conductor, director, scenographer and photographer known for intense and original interpretations of opera characters, notably Otello in Verdi’s Otello, Samson in Saint-Saëns’ Samson et Dalila, Canio in Ruggero Leoncavallo's Pagliacci, Stiffelio in Giuseppe Verdi's Stiffelio and many others.
Anna Yuryevna Netrebko is a Russian and Austrian operatic soprano who has performed at the Salzburg Festival, Metropolitan Opera, Vienna State Opera, the Royal Opera and La Scala.
Raymond Jonathan Gubbay, CBE is a British impresario, active primarily in the UK, and Europe. He has worked with classical artists including Anna Netrebko, Jonas Kaufmann, Bryn Terfel, Joseph Calleja, Rolando Villazon, Yehudi Menuhin, James Galway, Henry Mancini, Victor Borge, and Kiri te Kanawa. In dance, he has co-produced seasons by New York City Ballet, Mark Morris Dance Group, Carlos Acosta, Sylvie Guillem, Bejart Ballet, Stuttgart Ballet, and American Ballet Theatre.
Salvatore Licitra was an Italian operatic tenor.
Michèle Crider is an American lirico spinto operatic soprano. She has appeared in many of the great opera house in the world including the Royal Opera House Covent Garden, the Metropolitan Opera in New York, San Francisco Opera, Los Angeles Opera and the state operas of Vienna, Munich, Berlin and Hamburg. She has sung under Riccardo Muti, Daniel Barenboim, Zubin Mehta, James Levine, Nello Santi, Christoph von Dohnányi, Semyon Bychkov, Seiji Ozawa, Riccardo Chailly and Colin Davis. She is professor of vocal performance at the Mozarteum University Salzburg.
Andrea Gruber is an American dramatic soprano particularly admired for her interpretations of the works of Puccini, Verdi, and Wagner.
Daniel Oren is an Israeli conductor.
Sylvie Valayre is a French operatic soprano known for her versatile interpretations of lyric, spinto, and dramatic coloratura soprano parts. She sings grueling roles like Abigaille, Lady Macbeth or Turandot as well as lighter pieces like Giordano's Maddalena, Cio-Cio San, or Verdi's Desdemona at major opera houses around the world.
Erwin Schrott is an Uruguayan operatic bass-baritone, particularly known for the title role of Mozart's Don Giovanni.
Galina Savova was a Bulgarian operatic soprano. The singer completed her education first in Varna, in Sofia and then began her career in 1966 with a beginner's engagement at the Sofia National Opera Theater. There, she sang much Bulgarian, Russian, and Italian operatic repertoire, as it was set in 1971 at a guest performance of the Opera of Sofia at the Paris Grand Opera in the title role of Puccini's "Turandot".
Oksana Dyka, also rendered as Dika, is a Ukrainian operatic soprano.
Nino Machaidze is a Georgian operatic soprano. She performs in 19th-century Romantic repertoire, primarily in operas by Rossini and Verdi as well as French operas. Beginning her career at La Scala, she gained international attention after being cast as Juliette in Gounod's Roméo et Juliette at the 2008 Salzburg Festival, after which she earned the nickname "Angelina Jolie of Opera" from the Austrian press.
Liudmyla Viktorivna Monastyrska is a Ukrainian spinto soprano.
He Hui, is a Chinese operatic lirico-spinto soprano known in the West and on record covers as Hui He.
Irina Lungu is a Russian operatic soprano.
Lynne Strow Piccolo is an American soprano, particularly associated with the spinto roles of the Italian operatic repertoire.
Irina Churilova is a Russian soprano opera singer, soloist of the Novosibirsk Opera and Ballet Theatre (2008–2018) and the Mariinsky Theatre.
Elena Manistina is a Russian operatic mezzo-soprano. She is a member of the Bolshoi Theatre and has appeared in many operas internationally. She also appeared as Verdi's Azucena at the Metropolitan Opera, the Deutsche Oper Berlin and Opéra Bastille, and as Amneris at the Arena di Verona.