by MK
On Friday evening, November 28, the Teatro Verdi opened its 2025–26 opera season with a Barbiere di Siviglia that delivered exactly what an opening night should: a packed house, a jubilant audience, and performances that left little doubt about the vitality of this historic theater.
From the moment patrons stepped into the foyer — a vibrant mix of Triestini and international visitors dressed in elegant evening wear — the atmosphere was unmistakably festive. The buzz underscored the anticipation surrounding Pier Luigi Pizzi’s highly awaited debut in the city with a brand-new staging of Rossini’s masterpiece.
Once the curtain rose, that anticipation was more than met. Under the baton of Enrico Calesso, the orchestra provided a crisp and buoyant reading of Rossini’s score, offering a bright foundation for the cast’s energetic interpretation. Alessandro Luongo’s Figaro commanded the stage with vocal assurance and natural charisma, earning some of the evening’s loudest applause. Annalisa Stroppa’s Rosina combined vocal precision with spirited comedic timing, while Marco Ciaponi brought an engaging warmth and agility to Count Almaviva. Around them, the ensemble cast contributed uniformly strong performances, sustaining a lively pace from start to finish.
One of the production’s surprises was the modern physicality woven into the movement of the principal characters. Pizzi’s decision to infuse the staging with contemporary gestures and a more elastic, humorous choreography added an unexpected layer of comicality without disturbing the opera’s classical charm. It was a risk, but one that elicited delighted reactions from the audience, who responded with laughter throughout and ultimately a sustained standing ovation at the final curtain.
If opening nights are meant to set the tone for a season, Teatro Verdi could hardly have hoped for a better start.
