A wonderful choice to kick off the new season with an opera that was born in this very theater over 100 years ago. Francesca da Rimini is a hidden gem, rarely performed today, and last night’s performance was a fantastic opportunity to rediscover its haunting beauty. The music by Riccardo Zandonai draws from the rich musical heritage of the late 19th century, blending elements of verismo, Wagnerian grandeur, and even the melodic flair of Jules Massenet.

The evening’s success was due in large part to the impeccable direction of Andrea Battistoni. The Orchestra of the Teatro Regio Torino played a pivotal role, bringing Zandonai’s complex score to life with remarkable precision. The dynamic shifts in rhythm, style, and volume were all handled with grace, showcasing the orchestra’s nuanced understanding of the music, while never overshadowing the vocal performances.

The chorus of the Teatro Regio Torino also delivered a strong performance, effortlessly blending into the rich tapestry of the opera’s soundscape. In addition, numerous smaller solo roles contributed to the performance’s depth, each portrayed with great skill.

A special mention goes to Janusz Nosek, whose portrayal of the minstrel (complete with rabbit-ear costume) stood out for his resonant bass.

Silvia Beltrami as Smaragdi and Valentina Boi as Samaritna both brought a delicate clarity to their roles, their voices blending beautifully in the ensemble.

Devid Cecconi’s portrayal of Ostasio had a commanding, authoritative gravitas.

The quartet of ladies-in-waiting : Sofia Koberidze, Martina Myskohlid, Albina Tonkikh, and Valentina Mastrangelo shone particularly in Act III’s Canto di Primavera, where their voices soared with remarkable precision and beauty.

Matteo Mezzaro was a standout as the manipulative and sadistic Malatestino, his acting and vocal color adding depth to this sinister character.

As Gianciotto, George Gagnidze embodied the tortured, duped husband with impeccable projection and a voice that perfectly conveyed his inner turmoil. It was a truly impressive performance.

Roberto Alagna, as Paolo, delivered a masterful interpretation. His voice remains as powerful as ever, and his portrayal of the passionate lover stood in sharp contrast to Gianciotto’s icy demeanor. Every word was carefully enunciated, and his emotional depth brought a true sense of sincerity to the role. A true legend.

Finally, Barno Ismatullaeva’s Francesca was nothing short of stunning. Her voice, radiant in the high register and controlled in the lower notes, was simply captivating. This was a performance that made one eager to hear more from this exceptional artist in the future.

The direction by Andrea Bernard allowed for an accessible reading of the opera, especially for those familiar with its central themes. The minimalist set design by Alberto Beltrame effectively utilized the stage’s depth, emphasizing the emotional distance between the characters and the tragic unfolding of their fates.

In conclusion, the opening night of the 2025-2026 season at Teatro Regio Torino was a resounding success, driven by a fantastic cast and an orchestra under the masterful baton of Battistoni. It was bold and refreshing to open the season with a rarer work like Francesca da Rimini, offering the audience a chance to experience a true operatic treasure.