* Ravenna, November 16, 2018 - Ravenna Festival announces that Maestro Pietro Borgonovo has decided to abandon the production of Nabucco for health reasons. The Festival Direction thanks Maestro Borgonovo for the work done during the weeks of hall and orchestra rehearsals, wishing him a speedy recovery. To replace Maestro Borgonovo in the next rehearsal sessions and performances was called Alessandro Benigni, conductor who followed the entire trilogy as a master collaborator and trainer of the singers. The Festival thanks Maestro Benigni for his ready availability, which ensures continuity to the production on stage on 23, 27 and 30 November at the Alighieri Theater.
A new lyric marathon: three titles that follow one another night after night on the same stage, fast rhythms and a laboratory that plays on the edge of invention and creativity, intertwining young talents and modern technologies. It is the autumn trilogy, which once again chooses to investigate the genius of Giuseppe Verdi, transforming the Alighieri stage into a real "opera factory", capable of giving body and voice to three different moments of his artistic path. An unpublished production is flanked by the reinterpretation of works already presented (from the "repertoire" that the autumn formula can already boast): starting from the biblical and choral inspiration that dominates Nabucco, in the light that springs from the dark, enhancing the soul of Rigoletto, up to the dramatic chromatic contrast that unites / separates Otello and Desdemona.
It could only be Nabucco who opened the Trilogy destined to retrace Verdi's extraordinary creative parable. The work with which, in 1841, he manages to rise from the adversities of destiny and take back his life, as a man and as a musician, and in which the biblical and prophetic dimension flows into a choral fresco capable of absorbing and subsuming into itself individual individuals, towards an ideal union of peoples. It is in that score that the foundations of Rigoletto 's irresistible success are laid , the first piece in 1851 of the “popular” triptych, and above all the author's favorite work, for the vivid definition of the protagonist in a picture of perfect dramatic unity. And, after all, also of the extreme renewal that in Otello (1887) will spring from the Shakespearean verb, the inevitable landing of Verdi's “scenic word”.
