If last season was marked by the absence of great works and great authors from the repertoire, the upcoming season offers a prominent place to the great works of the repertoire.
It will kick off with the concert version of Verdi’s Sicilian Vespers in October.
In November, Puccini’s Turandot will be appreciated. The maestro died before he could complete his opera. The rest is history, the work was presented in 1926 at La Scala in Milan and conducted by Toscanini, who put down his baton on the last page written by Puccini, who had died two years earlier. This version ends with Riccardo Chailly’s finale created in 2002.
In January, it’s a work by Benjamin Britten: Peter Grimes, premiered in London in 1945. February brings us back to the Enlightenment century with Mozart’s Cosi Fan Tutte. Rossini makes his grand return to the Nice opera with a work inspired by Voltaire, Semiramide. In March, we will be able to admire this opera written in just forty days.
The operas will conclude with Halévy’s La Juive on a libretto by Eugène Scribe. This work was presented in 1835 at the Royal Academy of Music.
For the thirteenth year, the city of Nice is organizing the operetta festival with Franz Lehár’s Merry Widow. This operetta was first performed in Vienna in 1905. This festival will start the lyrical season in September.
The program also includes concerts with the successful format of family concerts, chamber music, and ballets.
The choreographic program offers a world premiere in October and numerous ballets that will take us around the Mediterranean and onto the Promenade des Anglais on September 6th, a nod to Nice’s bid for World Heritage status.
It is clear that this program is rich and very varied, enough to satisfy the widest audience. Furthermore, the opera is becoming more accessible, with shows planned at the theater of photography, the open-air theater, the CNRR, and the Marc Chagall museum.
Conferences led by André Peyrègne are also planned for the presentation of operas, along with others led by the Richard Wagner society.
The younger audience, those who will come to opera and concerts in the future, have not been forgotten and performances are specially dedicated to them.
Thierry Jan
