FULL Venti Anni Senza Massimo Concert Livorno 2024 Denia Mazzola Gavazzeni, Francesca Maionchi

Information on the Performance

• Work Title: Venti Anni Senza Massimo  
• Composer: various  
• Libretto: various  
• Venue & Opera Company: Teatro Goldoni Livorno  
• Recorded: March 21, 2024
• Type: Concert Live
• Singers: Denia Mazzola Gavazzeni, Francesca Maionchi
• Conductor: Giovanni Di Stefano, Mario Menicagli, Aldo Sisillo  
• Orchestra: Orchestra del Teatro Goldoni di Livorno  
• Chorus: Coro e Coro di voci bianche del Teatro Goldoni di Livorno  
• Chorus Master: Maurizio Preziosi, Laura Brioli  
• Stage Director:   
• Costume Designer:   

Information about the Recording

• Published by: YouTube  
• Date Published: 2024  
• Format: Streaming
• Quality Video: 4 Audio:4
• Subtitles: nosubs  

ADDITIONAL INFORMATION ON THIS PERFORMANCE

Programma

G. Verdi: Nabucco – Sinfonia (dir. Di Stefano)
G. Martucci: Notturno per piccola orchestra, Op.76 nº1 (dir. Sisillo)
P. Mascagni: Guglielmo Ratcliff – Sogno (dir. Menicagli)
G. Puccini: Suor Angelica – Intermezzo (dir. Sisillo)
P. Mascagni: Lodoletta – Serenate delle fate (dir. Menicagli)
G. Verdi: Il Trovatore – “Vedi le fosche notturne spoglie” (dir. Di Stefano)
G. Verdi: Nabucco – “Va pensiero” (dir. Di Stefano)
P. Mascagni: Cavalleria rusticana – “Voi lo sapete, o mamma” Denia Mazzola-Gavazzeni, soprano (dir. Sisillo)
P. Mascagni: L’amico Fritz – “Son pochi fiori” Francesca Maionchi, soprano – (dir. Menicagli)
G. Puccini: Tosca – “Vissi d’arte” Denia Mazzola-Gavazzeni, soprano – (dir. Di Stefano)
G. Puccini: Le Villi – Tregenda (dir. Sisillo)
G. Puccini: Manon Lescaut – Intermezzo (dir. Menicagli)

Exactly twenty years ago , on March 1, 2004, Massimo de Bernart , the conductor who just over a month earlier had inaugurated the renovated and restored Teatro Goldoni in the presence of the then President of the Republic Carlo Azeglio Ciampi with a vibrant interpretation of Pietro Mascagni’s masterpiece Cavalleria rusticana, passed away in Rome at the age of 54. Already seriously ill, he did not want to miss such an important event for the city of Livorno, which in the previous ten years had seen him as the creator of important opera productions, almost all in the name of the greatest composer from Livorno. With his usual spirit, despite the obvious difficulties, he devoted himself to preparing the opera with long rehearsals with the artists, the orchestra and the choir, in the room next to the Goldonetta that today bears his name.

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