Rare, very rare, are the occasions when I get to discover an opera I don’t already know—especially from a composer I adore and whose masterpieces I know inside out. But this time, it happened. And not just any opera, but one personally recommended to me by Charles Castronovo during an interview in Zürich a few weeks ago.

So, naturally, when I planned my trip to Naples for Roméo et Juliette the night before, I knew I had to take a train the next day to Rome for the premiere of Lucrezia Borgia. And what a discovery it was!

The expression “Tell me it’s Donizetti without telling me it’s Donizetti” could not be more accurate here. From the overture to the final aria, you can feel his unmistakable signature in every musical phrase, in every soaring vocal line. It’s pure bel canto, with all the drama, vocal acrobatics, and sweeping melodies you’d expect from the master himself.

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What’s Lucrezia Borgia about?

Let’s keep it short and fun:

Lucrezia Borgia is the ultimate operatic femme fatale—she’s ruthless, cunning, and deadly… but also a mother desperately trying to protect her secret son, Gennaro, who has no idea they’re related.

The drama kicks off when Gennaro insults Lucrezia in public, unknowingly putting himself in danger. Her powerful husband, Duke Alfonso, wants him dead, and Lucrezia, caught between her love for her son and her thirst for vengeance, does everything she can to save him. But hey, it’s opera—so, of course, things take a tragic turn. In the final act, she accidentally poisons Gennaro along with his friends, then reveals her secret just before he dies in her arms.

In short? Toxic family drama, murder, and some of the most glorious bel canto music ever written.

Lidia Fridman – An exceptional discovery

The absolute highlight of the evening was, without a doubt, the revelation of Lidia Fridman. What a voice!

Her performance was breathtaking—with long, sustained notes that seemed to defy time itself, an acting presence that commanded every moment she was on stage, and eyes that conveyed madness, love, and despair all at once.

But it was the final aria that sealed the deal—an extraordinary performance that left the audience in awe. I can’t wait to see what she does next, especially as Norma alongside Freddie De Tommaso in a few months!

Enea Scala – The perfect Bel Canto voice

It was also a treat to (re)discover Enea Scala, who is simply made for this repertoire. His voice has the perfect balance of agility and power, ideal for Donizetti’s intricate vocal lines.

And since I’ll be seeing him again in a few months for La Traviata in Geneva, I’m excited to hear what he brings to Verdi—I have no doubt he’ll deliver something special.

Alex Esposito – A Chameleon of the Opera World

And let’s not forget Alex Esposito, who continues to prove he can do just about anything. Whether it’s the comedic brilliance of L’Elisir d’Amore or the dark intensity required for Duke Alfonso, he brings charisma, depth, and absolute vocal authority to every role.

His performance last night was no exception—magnificent!

Roberto Abbado – A maestro of unmatched precision

There’s something about the Abbado family—genius clearly runs in their veins.

Roberto Abbado, nephew of the legendary Claudio Abbado, has built a formidable career in his own right. A specialist in Italian opera, he brings a level of detail and dynamism to the score that makes even an unfamiliar piece feel instantly accessible.

Last night, his command over the orchestra was nothing short of masterful—even for an opera I didn’t know by heart, every note resonated with clarity and passion.

A tip for opera lovers: the best way to learn a new opera

For those who love opera but don’t always have the chance to see every production live, here’s a trick:

Fall asleep to it.

Seriously. That’s what I did five or six times before seeing Lucrezia Borgia live, and when I finally sat down in the theater, it all felt strangely familiar! The themes, the structure, the melodies—it was like hearing an old friend tell you a new story.

If you want to discover an opera you don’t know, immerse yourself in it beforehand—it makes the live experience even more magical.

Final Thoughts

Donizetti’s Lucrezia Borgia may not be as famous as Lucia di Lammermoor or Don Pasquale, but after last night, I can confidently say—it deserves to be heard more often.

Between the stunning performances of Lidia Fridman, Enea Scala, and Alex Esposito, the exquisite conducting of Roberto Abbado, and the rare opportunity to see this masterpiece on stage, it was a night to remember.

Rome, you never disappoint.

CAST

DIRETTORE – Roberto Abbado

REGIA – Valentina Carrasco

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Alfonso I D’Este – Alex Esposito

Lucrezia Borgia – Lidia Fridman

Gennaro – Enea Scala

Maffio Orsini – Daniela Mack

Jeppo Liverotto – Raffaele Feo

Don Apostolo Gazella – Arturo Espinosa

Ascanio Petrucci – Alessio Verna

Oloferno Vitellozzo – Eduardo Niave

Gubetta – Roberto Accurso

Rustighello – Enrico Casari

Astolfo – Rocco Cavalluzzi

Usciere – Giuseppe Ruggiero