Before even talking about the opera… I need to talk about the place.
Because honestly, for me, the Teatro Comunale di Ferrara is one of the most beautiful theatres in Italy. The kind of place we all love — old-school, intimate, full of history. It opened in 1798, was later renamed after the composer Claudio Abbado, and holds just around 1,000 seats. You feel it immediately: this is not a giant machine like Milan or Vienna. This is a human-sized theatre, with soul, with stories in the walls, with that slightly worn charm that makes everything feel more real.
It’s the kind of place where you don’t just watch opera, you live it.
Elisa Verzier – she carried the night
Let’s start with Elisa Verzier, because she carried the show.
I hadn’t seen her in a while last time was La Bohème in this very theatre two years ago, and wow, what a return. She was simply magnificent as Violetta.
She has a beautiful voice, but more than that, she knows how to use it. The high notes? Clean, bright, effortless. The emotional arc? Totally convincing. You could feel her fragility, her strength, her transformation. And her love duets with Alfredo were genuinely touching — not forced, not overplayed, just natural and musical.
She’s clearly the center of gravity here, and everything revolves around her.
Matteo Falcier – first time, not the last
Matteo Falcier as Alfredo was a great surprise.
First time hearing him live — and hopefully not the last. There’s something very honest about his singing. It’s direct, sincere, no tricks. His chemistry with Verzier worked really well, especially in their duets, which felt alive and spontaneous.
And then… his dynamic with Germont.
Angelo Veccia – father and lookalike!
Angelo Veccia as Giorgio Germont was excellent and honestly, the chemistry between him and Falcier was so good that I actually checked the program during the intermission to see if they were related.
They look alike. They move alike. They feel like father and son. And that kind of natural connection makes a huge difference in La Traviata, where that relationship is central.
Vocally, Veccia brought warmth and authority, without ever going too heavy. It felt real, grounded, exactly what the role needs.
A simple staging… and that’s fine
Now, let’s be honest, the staging wasn’t spectacular.
But also… it didn’t need to be.
We’re in Ferrara, not Milan, Vienna, or Barcelona. And La Traviata is one of those operas that works perfectly without huge concepts or massive productions. The simplicity actually helped the story breathe. It was clear, effective, and never got in the way of the music.
Sometimes, that’s all you want.
Why I need to come back more often
I really need to come to Ferrara more often.
It’s one of those theatres — like Piacenza, Mantova, Verona — that takes you straight back to 19th-century Italy. These places are over 200 years old, and you feel it. The atmosphere, the audience, the tradition… it’s all there.
And the audience! So loyal, so present, from all ages. Opera here feels like a real social event — like theatre in France, but with that uniquely Italian passion. People come together, they live it together, and that’s something special.
Final thoughts (and thank you, Grazie)
The next season will be announced in September, and I already hope I’ll be back.
A huge thank you to Lucas — he’ll recognize himself — and to Anthea Morano, who handles social media. They were incredibly kind, gave me a fantastic seat, and even allowed me to film a few moments that will be shared next Saturday on Opera Diary’s Instagram.
Honestly, evenings like this remind me why I love what I do.
Beautiful theatre, great singers, warm people, sometimes, that’s all you need for a perfect night at the opera.
