Andrea Bevilacqua

In 18th-century Rome, impish aristocrat Onofrio del Grillo amuses himself by playing pranks on all sorts of people — his reactionary family and fellow nobles, the poors, the French occupiers trying to modernize society, and even the Pope himself.

Part of Tutto Verdi series - Macbeth (2006) Parma. Macbeth is one of the most multi-layered, profound and demanding roles that Verdi ever wrote for a baritone and the Italian singer Leo Nucci is arguably the most distinguished in his field. The role has repeatedly brought him lasting success and he enacts it with an intensity that only the very experienced stage personality can muster. French singer Sylvie Valayre is known for her versatile interpretations of spinto and dramatic coloratura soprano parts, especially for particularly gruelling roles like Lady Macbeth. Supported by Italian bass Enrico Iori as Banco and tenor Roberto Iuliano as Macduff, they make up a wonderful cast under the baton of Bruno Bartoletti, musical director of the Teatro Regio di Parma.

In Italy, in Mantua and its surroundings, in the 16th century. Although newly in love, the Duke of Mantua extols infidelity. His court jester, Rigoletto, mocks the elderly Monterone, who has come to demand the return of his daughter, whom the Duke has seduced. Monterone casts a curse on Rigoletto. The hitman Sparafucile offers his services to the jester, as a man is lurking around the young woman he is protecting. Rigoletto reflects on his dual role as jester and tormented father, for this young woman—whom the courtiers believe he is hiding a romantic affair with—is in fact his own daughter, Gilda. “Rigoletto” is an Italian opera in three acts and four scenes by Giuseppe Verdi, with a libretto by Francesco Maria Piave, based on Victor Hugo’s 1832 play “Le roi s’amuse.” It premiered on March 11, 1851, at the Teatro La Fenice in Venice. From the “Tutto Verdi” box set of 27 Verdi operas. Recorded live at the Teatro Regio in Parma on October 16, 20, and 22, 2008.

Macheath (Mack the Knife), notorious bandit and womanizer, runs afoul of Jonathan Peachum when he marries Peachum's daughter Polly in a ceremony of doubtful legality. Peachum's resolve to have Mack sent to the gallows is complicated by the fact that Mack's old army buddy is the chief of police, Tiger Brown. Peachum and his wife commence a series of strategems to ensnare Mack: bribing prostitutes to turn him in, exercising their influence over the police, and ultimately threatening to ruin the coronation of Queen Victoria by having all the beggars in London (whom Peachum controls) line the parade route. Mack is imprisoned, escapes, and is imprisoned again. When his hour of execution arrives, however, a mounted messenger appears with the Queen's reprieve, which includes a baronetcy and an annual pension of 10,000 pounds.

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The context is England's Civil War between the Roundheads (the Parliamentarians, or Puritans of the title) and the Cavaliers (Royalists). A love triangle between Arturo (a Puritan), Riccardo (a Royalist) and the beautiful Elvira results in a drama of escapes, disguises and captures, during which Elvira loses her reason, before a final pardon restores her senses and unites her with her beloved Arturo. The lead tenor role is notoriously difficult and Juan Diego Flórez shows no strain or difficulty throughout the role. Opera fans will undoubtedly be impressed with the overall production and the tenor's performance in particular.