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Find the complete 2018-2019 To Rome Opera House Season and book your tickets online now.

 

Not to be missed in February 2019:

In February at the Teatro dell'Opera in Rome, whether sung or danced, Carmen is always vivacious on stages all over the world. The new choreography is by Jirí Bubenícek. An event not to be missed, as are the performances of Anna Bolena's of Donizetti, with Maria Agresta or Valentina Varriale and Carmela Remigio.

 

In Rome, do not hesitate to cross the austere façade of the Teatro dell'Opera because the hall is beautiful. Italy is the land of the Opera and the capital cannot do without a prominent venue. The great masterpieces follow one another in this magnificent setting of gold and red velvet.

 

You have to book your tickets as soon as possible to attend an opera or ballet performance at the Teatro dell'Opera in Rome because dance is also very present.

 

With a rich season 2018-2019, the titles not to be missed are as always, great and beautiful ballets classics like Swan Lake or Don Quixote. The original choreography of Alexander Gorsky and Marius Petipa has been revised by the great Laurent Hilaire himself. An event not to be missed as the evening devoted to the American composer Philip Glass with choreographies signed Benjamin Millepied, Giorgio Mancini and the young Sebastien Bertaud or the classic Jerome Robbins. Another great choreographer, Angelin Preljocaj, visits Rome Opera for the performances of one of his masterpieces, Snow White.

 

For the opera, we do not know where to look first because the headlines follow one another on the stage of the Teatro dell'Opera in Rome. Do not delay to book your opera tickets and thus make sure to attend a performance. The great Italian composers are admirably served in Rome but this season 2018-2019, it is undoubtedly Mozart who is put in the spotlight. His delightful Nozze di Figaro are programmed as well as the magical Zauberflöte in the incredible staging of Barrie Kosky and Suzanne Andrade, silent film way. Another Mozart event, Idomeneo is sung, by two tenors in the roles of Idomeneo and Idamante. All that's missing is Don Giovanni to complete the picture. Directed by Jérémie Rhorer, the production is signed by the great Graham Vick.

 

Among the outstanding directors, Robert Carsen has signed some major productions such as Gluck's recent and magnificent Orfeo ed Euridice infused with humanism (with Emöke Baráth) and Idomeneo. Renowned filmmaker Sofia Coppola is again present this season 2018-2019 with the reprise of Verdi's La Traviata. The Italian composer obviously has his place at the Rome Opera with a splendid Rigoletto where we can applaud the new star, Lisette Oropesa.

 

Notable singers include Alessio Arduini (Don Giovanni and Papageno) and Vito Priante (Figaro). Valentina Varriale, Jessica Nuccio and Claudia Pavone share the role of Violetta in La Traviata. Anna Bolena of Donizetti is eagerly awaited for the confrontation of divas with in Rome, Maria Agresta, Valentina Varriale or Carmela Remigio. Svetlana Kasyan and Monica Zanettin play Puccini's Tosca and in Rossini's stunning Cenerentola, Annalisa Stroppa or Teresa Iervolino can be applauded facing Michele Angelini or René Barbera.

 

Music lovers also remember the performances of Prokofiev's rare Fiery Angel or that divine Merry Widow (Die lustige Witwe) with Nadja Mchantaf and Paulo Szot. An Italian season not to be missed in the magnificent Teatro dell'Opera di Roma!

 

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Informations sur Teatro dell'Opera

Even though there is proof that an opéra performance took place in Rome as early as 1606, (Agazzari's EUMELIO), the Pope's ban on théâtre and opéra performances was for many years an obstacle in the local development of opéra. In spite of the fact that a public opéra théâtre was inaugurated in 1697, no major composer was linked with the papal city until the opening of the présent opéra house in 1880. Opéra in Rome was far from inexistent during the nineteenth century: Rossini came to première his BARBER OF SEVILLE at the Teatro Argentina in 1816, and Verdi four of his works, including II TROVATORE (1853) and UN BALLO IN MASCHERA (1859) at the Teatro Apollo.

 

But in 1877, the city that had in the meantime become the capital of Italy was still without a modem opéra house. Domenico Costanzi, who had made a fortune in the hôtel business, had the good idea of bequeathing his name to the Eternal City by funding the construction of an opéra house, which was opened three years later. Roman operatic life was thus revived, and, from 1880 to 1926, the Teatro Costanzi hosted no less than 46 world premières and 120 Roman premières. Thèse premières, ail signed by Italian composers, included triumphant performances of Mascagni's CAVALLERIA RUSTICANA and Puccini's TOSCA. Furthermore, it was here that the Roman public discovered PARSIFAL in 1884, while Toscanini made his Roman début in the house's pit, conducting... CARMEN. In 1926. the théâtre fell into the hands of the fascist state, which renovated and modernized the building. When the house reopened two years later, rebaptized "Teatro Reale dell'Opera", the tradition of "national"premières was of course pursued, and one could hear composers such as Respighi and Malipiero, as weil as Stravinsky, Richard Strauss, and even Berg's WOZZECK in 1942. In 1937, the now famous open-air summer concerts were inaugurated in the Caracalla thermal baths.

 

In 1946, the institution adopted the name of Teatro dell'Opera and interna-tionalized its répertoire, while remaining faithful to contemporary music, as works by composers such as Britten, Honegger, Hindemith, Janâcek, and Henze were performed. It was also on this stage that Renata Tebaldi was applauded in 1948, and Maria Callas (in the rôle of Kundry in PARSIFAL!) in 1949. In spite offinancial difficulties, the house's artistic directors have, during these last few décades, deftly managed to keep alive the creativity and the luster of the Roman stage.