On Thursday, December 12th, I had the pleasure of attending the premiere of Fedora at the Grand Théâtre de Genève (GTG). This opera by Umberto Giordano, often overshadowed by his masterpiece Andrea Chénier, is a gem in its own right. Having immersed myself deeply in Andrea Chénier, I was eager to explore Giordano’s second most famous work. The experience was nothing short of a revelation.

A Modern and Captivating Staging

Director Arnaud Bernard delivered a brilliant and contemporary vision for this production. The opera begins with a character navigating the history of Princess Fedora Romazoff on the internet, jumping between slides and websites—a bold and ingenious choice that immediately captured my attention. This digital framework closes the story as well, with the protagonist shutting down their computer in a final, frozen image. It’s a smart and striking approach that brings Fedora into the modern age without compromising its emotional core.

The set design and costumes were equally noteworthy, combining elegance and authenticity. The second act, set in a lavish reception hall in Saint Petersburg, was a visual highlight of the evening. Add to that a breathtakingly played intermezzo, and the result was a feast for both the eyes and ears.

The Star Couple: Alagna and Kurzak

The chemistry between Roberto Alagna and Aleksandra Kurzak, both onstage and in real life, is magnetic. Aleksandra Kurzak dazzled as Fedora, delivering soaring high notes and a nuanced, passionate performance. She captured the inner turmoil of the princess, torn between love and duty, and her connection with conductor Antonio Fogliani was evident throughout.

Roberto Alagna, a true living legend, proved once again why he is so beloved. His portrayal of Loris Ipanoff was fiery and emotionally charged, with his powerful and nuanced voice drawing the audience into every moment. His stage presence is unmatched, and his ability to convey vulnerability and strength is remarkable.

Antonio Fogliani and the GTG Orchestra

Antonio Fogliani, no stranger to the Grand Théâtre de Genève, brought the score to life with fervor. Having previously impressed with productions such as Nabucco, he approached Giordano’s music with deep understanding and emotional precision. The orchestra, particularly the strings during the intermezzo, delivered a standout performance that resonated with the audience.

Minor Drawback

The evening wasn’t without its small flaw. For an opera with a runtime of about 1 hour and 40 minutes, the inclusion of multiple intermissions felt unnecessary. These breaks occasionally disrupted the narrative flow and diluted the dramatic tension. However, this minor issue was easily overshadowed by the exceptional quality of the production.

A Historic Moment at the GTG

The Grand Théâtre de Genève last staged Fedora in 1902. This production, with its stellar cast and innovative staging, marks a triumphant return for this rare work. If you have the chance to see it, don’t miss it!

CASTING :

Princesse Fedora Romazoff : Aleksandra Kurzak

Comte Loris Ipanoff : Roberto Alagna

De Siriex, un diplomate : Simone Del Savio

Grech, inspecteur de police : Mark Kurmanbayev

Comtesse Olga Sukarev : Yuliia Zasimova

Pianiste Lazinsky : David Greilsammer

Lorek, chirurgien : Sebastiá Peris

Cirillo, cocher : Vladimir Kazakov