For me, coming to Piacenza every year to see my very last opera of the season is always more than a joy — it is a deeply personal and emotional ritual. This theatre is my opera house, my favourite theatre in the world. I know it may surprise many people when I say that. Why not Parma? Why not Milan? Why not the San Carlo? Why a small theatre in a small city like Piacenza?
But Piacenza is something truly special. It is a theatre where everyone knows each other, where the audience is loyal, knowledgeable, and deeply committed. It is the very soul of Italy. If I may give you one piece of advice in life — and this is exactly what I experienced on Sunday — go one afternoon, at 3 p.m., in autumn, winter, or spring, to see an opera in a small Italian city like Piacenza, Pavia, or even Bologna. It is a moment that carries a very particular meaning for Italians. Seeing an opera on a Sunday afternoon is almost sacred. Many people go to church on Sunday morning; many Italians go to the theatre on Sunday afternoon. It is, quite literally, a religion.
And of course, knowing my love — no, my admiration — for Giuseppe Verdi, it made the experience even more special. Stiffelio is rarely performed. It may not be considered a major work in Verdi’s catalogue, but for me it is a magnificent opera. Two hours of intense music, stunning arias, a powerful chorus, and one of the most beautiful openings I have ever heard. That trumpet in the overture… I am convinced that Fellini himself drew inspiration from it for the sound worlds of many of his films.
The cast made the evening even more special. Gregory Kunde, whom I had seen less than a month earlier — two nights in a row at the Teatro Bellini in Catania as Otello, my favourite role — returned this time as Stiffelio. Lidia Fridman was also on stage, and there is something quite poetic about that: she was part of my very first opera of the season (Lucrezia Borgia in Rome), and here she was again, closing my season in Piacenza. This time in a Verdi role — no longer pure bel canto, but already stepping fully into Verdi’s dramatic world.
The staging was absolutely sublime. And when I say that the director is over 90 years old — yes, over 90 — I mean it with deep admiration. Pier Luigi Pizzi delivered an elegant, refined production, dominated by black and white, with subtle touches of madness and poetry. It was visually stunning, intelligent, and timeless.
A very special mention goes to Leonardo Sini, the conductor, who is not even 40 years old. He led the orchestra from beginning to end with extraordinary energy. I love Verdi when it moves forward, when the tempo is alive, when there is no time to get bored, no time to feel the passing of time. I like Verdi fast, driven, urgent. And Leonardo Sini gave me exactly that. My ears were delighted from start to finish.
As for the singers: Gregory Kunde remains, as always, one of the best tenors I hear live today. Stiffelio does not offer him many big arias, but his presence, experience, and authority are unmistakable. It is always a pleasure to hear him.
Lidia Fridman once again impressed me deeply, especially with her aria at the beginning of the second part — a moment of great beauty. She is clearly a favourite of the production, and knowing how well she gets along with Pier Luigi Pizzi, I wouldn’t be surprised if this staging was partly conceived with her in mind.
And then came a true vocal shock: Vladimir Stoyanov as Stankar. What a performance. Old-school, traditional, powerful — singing like it used to be done. I was blown away. To give you an idea: the moment his aria ended — and I didn’t even know it that well beforehand — I immediately went on Spotify, while the applause was still going, to add it to my favourites.
Once again, I want to thank the Teatro Municipale di Piacenza for moments like this. The welcome is always warm, the atmosphere unique. The five-hour drive from Lausanne to Piacenza never feels too long — honestly, I think I could drive ten hours for evenings like this and feel exactly the same joy.
Once again: thank you, Piacenza.
And more than ever — especially after this Sunday — Viva Verdi!
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CAST
Stiffelio Gregory Kunde
Lina Lidia Fridman
Stankar Vladimir Stoyanov
Raffaele Carlo Raffaelli
Jorg Adriano Gramigni
Federico di Frengel Paolo Nevi
Dorotea Carlotta Vichi
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direttore Leonardo Sini
regia, scene e costumi Pier Luigi Pizzi
regista collaboratore e disegno luci Massimo Gasparon
assistente alle scene Serena Rocco
assistente ai costumi Lorena Marin
editing video Matteo Letizi
