With La forza del destino, Verdi broke new ground in the 1860s. The title itself refers to this paradigm shift, as it does not refer to the name of a character or a historical event, but rather evokes the universal concept of the «power of fate». Accordingly, the composer wrote a four-act opera that is a drama of ideas, dealing with the fate of entire social classes and peoples. Building on this, director Frank Castorf creates connections to the Spanish Civil War of the 20th century and the fight against fascism in the Second World War, weaving the individual fates of the characters with the horrors of colonial history. In this production by the veteran enfant terrible of the Berlin theatre scene, the «triangle of fate» is embodied this time by an internationally sought-after trio consisting of Guanqun Yu (Leonora) and the two house debutants Luciano Ganci (Don Alvaro) and Igor Golovatenko (Don Carlos). Massimo Zannetti, a frequent guest at the Berlin State Opera in the past, makes his debut at the Deutsche Oper with this revival.

La forza del destino

Deutsche Oper Berlin

The celebrated actress Adriana Lecouvreur loves Count Maurizio, who keeps his relationship with her a secret. The Princess of Bouillon also desires him.

Adriana Lecouvreur

Vienna State Opera

Aida

Circus Maximus

Pagliacci, an opera in two acts with a prologue, by Ruggero Leoncavallo, follows in the fortunate wake of Cavalleria rusticana, which had paved the way for the strand of verismo theatre. The libretto, prepared by the composer himself, is based on a crime story, a crime of passion that really happened in Montalto Uffugo, the village in Calabria where the composer lived as a young man. Performed at the Teatro Dal Verme in Milan on 21 May 1892, under the baton of Toscanini, the opera achieved international fame in a very short time. The popular setting, where violent feelings are rendered by a convulsive vocalism, is the backdrop to the drama of jealousy of Canio, the head of an itinerant company. Thanks to the subtle narrative device of the theatre within the theatre, of real life consumed in the comedy performed on stage, Leoncavallo enhances the dramatic charge of the subject. The demon of jealousy that devours the protagonist, an unhappy man in reality and in fiction, cannot but lead him to the final catastrophe, with the heinous murder of his adulterous wife Nedda and her unfortunate lover.

Pagliacci / Cavalleria rusticana

Maggio Musicale Fiorentino Theatre

Cio-Cio-San, on the other hand, takes the marriage very seriously. She converts to the Christian faith and accepts the break with her family. Pinkerton returns to the USA.

Madama Butterfly

Cavalleria Rusticana

Carlo Felice Theater

Set in 19th century Paris, this opera depicts the pure love of the poet Rodolfo and the seamstress Mimì, and the impoverished yet free spirit of young artists with dreams of future success. This romantic story is interwoven with dulcet melodies typical of Puccini. The scene featuring the famous arias "Che gelida manina" and "Mi chiamano Mimì" stands out among many operas as a beautiful scene of love. This production is packed with highlights, including the bustling Quartier Latin on the Christmas, the beautiful yet sorrowful vocal quartet of the lovers on their decision to part ways, and the moving final scene. The stage design is a portrayal resembling real Paris from the time, a major feat by director Jun Aguni . The psychological characterizations carefully woven throughout each act are deeply evocative.

EPSG:4326

La Bohème

New National Theatre

An opera seria in a prologue and three acts to a libretto by Francesco Maria Piave, Simon Boccanegra debuted at the Teatro La Fenice in Venice on 12 March 1857. However, after many years, Verdi became convinced of the need to rework it, and assisted by Arrigo Boito for the libretto, he prepared a second version that debuted successfully on 24 March 1881 at La Scala in Milan. The action, set in and around Genoa around the middle of the 14th century, recounts the drama of the protagonist, Doge Boccanegra, victim of intrigues and conspiracies. The subject was taken from the drama of the same name by the Spaniard Antonio García Gutiérrez, from whose repertoire Verdi had already drawn inspiration for Trovatore. After its debut, the Gazzetta di Venezia described Boccanegra as an opera “too grand and severe”, characterised by a “lugubrious hue”. Verdi, deliberately and precisely because of the nature of a drama characterised by a thirst for power, a desire for revenge, and respect for the reason of state, chose to focus all his attention on the dark-toned male voices (basses and baritones), entrusting them with the narration of the intestine struggles that torment the republic of Genoa.

Simon Boccanegra

Edgar is many firsts. It marks the first time Puccini tackled a libretto of broad scope, following the smaller-scale debut of Le Villi. It is also the first time he set to music a subject in a medieval setting, with a chivalric and military tone that would remain unique in his output. And it is the first time he assigned a woman the role of an antagonistic virago, with the formidable (already from her name) Tigrana: a soprano of similar ferocity would only appear again with Turandot, at the end of his artistic journey.

Luciano Ganci

Events

Upcoming events

15 - 24 Nov, 2026

Simon Boccanegra · Teatro del Maggio Musicale Fiorentino

Jan 26 - Feb 6, 2027

Edgar · Teatro Regio Torino

Past events

3 - 18 Oct, 2026

La forza del destino · Deutsche Oper Berlin

5 - 14 Sep, 2026

Adriana Lecouvreur · Wiener Staatsoper

Future and recently performed repertoire

Don Alvaro in La forza del destino by Verdi

Deutsche Oper Berlin

Maurice, Count of Saxony in Adriana Lecouvreur by Cilea

Wiener Staatsoper

Pinkerton in Madama Butterfly by Puccini

Wiener Staatsoper

Edgar in Edgar by Puccini

Teatro Regio Torino

Turiddu in Cavalleria Rusticana by Mascagni

Opera Carlo Felice Genova

Rodolfo in La Bohème by Puccini

Tokyo Philharmonic Orchestra

Gabriele Adorno in Simon Boccanegra by Verdi

Teatro del Maggio Musicale Fiorentino

Turiddu in Cavalleria rusticana by Mascagni

Teatro del Maggio Musicale Fiorentino

Radamés in Aida by Verdi

Teatro dell'Opera di Roma

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