Quatuor Van Kuijk

Sala Coro

Due to a sudden indisposition of Ian Koziara, the tenor part in Das Lied von der Erde by Gustav Mahler will be sung by AJ Glueckert.

Das Lied von der Erde

Maggio Musicale Fiorentino Theatre

An opera never performed before in Florence. On the podium Lawrence Renes, a great promoter of Adams’ music who has frequently directed and recorded; the direction and the scenes are by Luca Guadagnino, for the first time at the Maggio Musicale Fiorentino. The Death of Klinghoffer questions, from its very first appearance, the profound complexity of conflicts that are rooted in myth and then burst into history” – comments director Luca Guadagnino, who also signs the sets - “The sublime purity of John Adams’ music and Alice Goodman’s libretto will be my firm guide in staging this immense opera at the Maggio Fiorentino, which I am honored to open in the 2026 season”.

The Death of Klinghoffer

Professors of the Maggio Orchestra

Circolo M.C.L. Movimento Cristiano Lavoratori

Giovanni Allevi returns to European stages with a new tour that will stop at the Teatro del Maggio on April 18, 2026.

Giovanni Allevi

Concert lesson

lower secondary school Renato Fucini

Missa solemnis

VERDI GAME is a “participatory” theatrical performance combining spoken drama and opera: a game, a narrative about the life and works of the composer who is almost certainly the most famous in the world, Giuseppe Verdi.

EPSG:4326

Verdi Game

Istituto Comprensivo Don Lorenzo Milani

Istituto Comprensivo Rignano

Paggeria Parco Mediceo di Pratolino

Piccolo Teatro Rufina

Scuola Francesco Granacci

Scuola Media Statale

Scuola Primaria Francesco Petrarca

Scuola Primaria Padule - Anna Maria Enriquez Agnoletti

Teatro Cinema Italia

Fibonacci String Quartet

Beethoven - Symphony No. 9

Quartetto Adorno

The new world

La Macchina del Suono

Aviv Quartet

GAMO

The Teatro del Maggio Musicale Fiorentino and the Maggio Musicale Fiorentino Academy open the doors of the Chorus hall to three events dedicated to the art of singing.

Eleonora Buratto

Quartet Integra

Soloists of the Maggio Academy

Pieve di San Donnino a Villamagna

Strozzi Fortress

In 1857, Verdi was called on to write an opera for the San Carlo Theatre in Naples, and he immediately began his search for the perfect story. His initial idea was King Lear by Shakespeare, but the lack of time available forced him to fall back on a libretto by Scribe, Gustave III ou Le bal masqué, which had already been set to music by Auber and by Mercadante. The story was inspired by actual events from 1792; the assassination of King Gustav III of Sweden by one of his officers during a ball. The subject was undoubtedly controversial, the on-stage murder of a monarch would not pass unnoticed by the Neapolitan censors, who in fact imposed numerous cuts and modifications. But the writer was too fond of the 18th-century traits and the lively French-influenced style of his new opera to be able to accept, among the many requests, the moving of the action to the 12th century, where it would have been impossible “to find a princeling, a duke, a devil, even from the North, who had seen a little of the world and experienced the atmosphere of Louis XIV”. With its Neapolitan debut thus grounded, Un ballo in maschera was staged at the Apollo Theatre in Rome, where it was performed on 17 February 1859.

Un ballo in maschera

The Armed Man

Accademia Bartolomeo Cristofori

Symphony No. 5

Ludovico Einaudi announces the release of his first discographic collection entirely dedicated to solo piano. The album, simply titled Solo Piano, will be released by Decca on 27 February 2026 and coincides with his upcoming European tour, which opens on 28 February in Austria and will reach Italy with two performances at the Teatro del Maggio Musicale Fiorentino on 20 and 21 May 2026. Further major tour dates include Spain, Portugal, France, Germany, England, Switzerland and Ireland, offering audiences across Europe the opportunity to experience the purest essence of Einaudi’s music on some of the continent’s most prestigious stages.

Ludovico Einaudi

Quartetto Noûs

Rimsky-Korsakov - Shéhérazade

Šostakovič - Symphony No. 5

Beethoven & Bruckner

Luigi Cherubini Conservatory of Music, Florence

Dayner Tafur-Díaz/Orchestra Giovanile Italiana

Čajkovskij & Rachmaninov

The chamber music ensembles of the Scuola di Musica di Fiesole

Beethoven, Mendelssohn & Schubert

The Great Theatre of God

Zubin Mehta

The Fondazione Palazzo Strozzi presents Rothko Chapel by the American composer Morton Feldman, one of the most intense and conceptually significant works of the music of the second half of the twentieth century. Created in collaboration with the Fondazione Teatro del Maggio Musicale Fiorentino and the Maggio Musicale Fiorentino Academy, the concert is organized on the occasion of the exhibition Rothko a Firenze, open at Palazzo Strozzi from March 14 to August 23, 2026.

Rothko Chapel

Giulio Cesare in Egitto premiered at the King's Theatre in London on 20 February 1724. At the time, Händel was the most respected composer on English soil as well as director of the Royal Academy of Music, which had been successfully promoting Italian opera in London since 1719. Julius Caesar, a musical drama in three acts to a libretto by Nicholas Francis Haym, was met with great triumph followed by thirteen performances with the theatre completely sold out. The opera is based on the historical episode of Caesar's campaign in Egypt in pursuit of his enemy Pompey after the Battle of Pharsalus. In Egypt, Caesar will meet the cunning and deceitful King Ptolemy and the perturbing Cleopatra, who will try to seduce him to her own advantage, only to fall in love with him for real. The opera was a perfect sampler of Baroque marvels: a first-rate vocal cast, which included the famous castrato Senesino in the title role and the soprano Francesca Cuzzoni in that of Cleopatra, a sumptuous and spectacular staging, and refined and beautifully crafted music. In the continuous scansion of recitatives and arias, typical of 18th-century opera, Giulio Cesare contains some of the composer's most popular pages such as the accompanied recitative “Alma del gran Pompeo”, sung by the protagonist before the urn of his murdered enemy Pompey.

Giulio Cesare in Egitto

Verdi & Liszt

Beethoven - Symphonies No. 1, No. 4 and No. 7

Real Time | Fluxus Tree

A theatrical and musical project conceived and narrated by Alessandro Baricco that reimagines the masterpiece by Giuseppe Verdi, transforming it into a collective and popular experience. Not a traditional opera, but a meeting point between a public square concert, theatre, and a village celebration. With musical direction by Enrico Melozzi and a cast of opera singers joined by accordion, mandolin, chamber ensemble, and wind band, the story of Violetta Valéry comes to life in a new form-closer, more engaging, and participatory. The audience does not simply sit and watch: they sing, toast, and step into the scene, becoming part of the performance.

Una Traviata da cortile

Architecture Library of the University of Florence

Music Lessons

Beethoven - Symphonies No. 5 and No. 6

Beethoven - Symphonies No. 2 and No. 3

Beethoven - Symphonies No. 8 and No. 9

Il barbiere di Siviglia by Gioachino Rossini returns to the Cavea del Teatro, the evocative open-air theater located right on the roof of the Maggio. The opera is conducted by the young maestro Riccardo Bisatti, with the now “traditional” staging by Damiano Michieletto. Twenty-one years after its first production, which took place in July 2005 at the Roman Theatre of Fiesole - and thus originally conceived and designed for an open space, just like the Cavea del Maggio - it reaches its eleventh staging within the Theater’s seasons. Despite its age, it retains intact all the freshness, originality, and modernity that have made it over time an “evergreen” production, highly appreciated by the Maggio. Michieletto’s production features an almost total absence of real sets and focuses all attention on comic gags and carefully crafted gestures. It begins as a train journey, announced over a loudspeaker - an cheerful way of traveling “through” Rossini’s opera, evoking places and situations through imagination. Evocative and eccentric costumes and bright colors turn the characters into caricatures, almost as if they were figures from commedia dell’arte: Don Basilio is green, with long, greasy hair and a hooked nose, entirely green with envy like a snake (or rather, a basilisk); Figaro has hair that suggests fox-like ears and a mustache, while Don Bartolo, dressed all in white, resembles a pot-bellied bulldog who jealously watches Rosina, dressed in red like her lover Lindoro.

Il barbiere di Siviglia

A double event with Stefano Massini who, following last summer’s success, returns with the show Liberamente... Sotto le stelle. Last year, the dominant theme of the performances was “Anger”; this year, the heart of the show shifts and is turned on its head, bringing “Happiness” to the center.

“Liberamente”... Sotto le stelle

Prokof’ev - Peter and the Wolf

Weill - Songs

Mahler - Symphony No. 2

«I saw Wozzeck on stage, before the war, and made such an incredible impression that I decided to set it to music immediately». So wrote Alban Berg to his friend and colleague Anton Webern in 1918, at a time when his name was only known in the small circle of Schoenberg's pupils. International fame and affirmation would arrive a few years later and precisely thanks to Wozzeck, an opera inspired by Georg Büchner's novel of the same name, which would soon become a symbolic work of the early 20th century as well as an emblem of expressionist theatre. In Büchner's text, Alban Berg had in fact identified themes particularly dear to expressionist poetics such as nightmare, mental alienation and brutal murder. The opera in three acts and fifteen scenes premiered at the Berlin Staatsoper on 14 December 1925 to great acclaim. Berg conceived the opera as a system of closed forms where each scene of each act refers to a formal structure of the Western instrumental tradition such as the suite, the rhapsody, the march, the passacaglia, to name but a few, revised through a livid and anguished orchestral writing. On the vocal side, the almost spoken chant in Wozzeck's Sprechgesang stands out, renouncing all melodic artifice to emphasise the protagonist's sorrowful humanity.

Teatro del Maggio Musicale Fiorentino

Mar 4 - Apr 29, 2026

Verdi Game

Apr 28, 2026

Fibonacci String Quartet

Apr 29, 2026

Beethoven - Symphony No. 9

Apr 30, 2026

Quartetto Adorno

May 3, 2026

The new world

Apr 24, 2026

Quatuor Van Kuijk

Apr 23, 2026

Das Lied von der Erde

Teatro del Maggio Musicale Fiorentino