aida-biglietti

Aida by Giuseppe Verdi

(Taormina Opera Stars Festival)

Taormina Greek Theatre, Monday 21 August 2017 @ 9.30pm

Aida is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in Egypt, it was commissioned by and first performed at Cairo’s Khedivial Opera House on 24 December 1871; Giovanni Bottesini conducted after Verdi himself withdrew. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York’s Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Ghislanzoni’s scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera.

TICKETS on  ticketone.it and boxol.it
Stalls (Parterre): € 85,00
Gallery: € 65,00
Upper circle (numbered seats): € 50,00
Upper circle (non-numbered seats): € 27,50

Ticket Office in Taormina @ Taormina Arte:
Congress Hall >> 10-12am / 5.00-7.00pm (9.00pm on event’s day)
Tel. +39 0942.628730 – 0039 0942 21142 info@taormina-arte.com www.taormina-arte.com

Synopsis
Antecedent: The Egyptians have captured and enslaved Aida, a Nubian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the Pharaoh. To complicate the story further, the Pharaoh’s daughter Amneris is in love with Radamès, although he does not return her feelings.

Act 1
Scene 1: A hall in the King’s palace; through the rear gate the pyramids and temples of Memphis are visible

Ramfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Nubians seems inevitable, and Radamès hopes that he will be chosen as the Egyptian commander (Ramfis, Radamès : Sì, corre voce l’Etiope ardisca / “Yes, it is rumored that Ethiopia dares once again to threaten our power”).

Radamès dreams both of gaining victory on the battlefield and of Aida, the Nubian slave, with whom he is secretly in love (Radamès: Se quel guerrier io fossi! … Celeste Aida / “Heavenly Aida”). Aida, who is also secretly in love with Radamès, is the captured daughter of the Nubian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude.

Amneris, the daughter of the Egyptian King, enters the hall. She too loves Radamès, but fears that his heart belongs to someone else (Radamès, Amneris: Quale insolita gioia nel tuo sguardo / “In your looks I trace a joy unwonted”).

Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed. She suspects that Aida could be her rival, but is able to hide her jealousy and approach Aida (Amneris, Aida, Radamès: Vieni, o diletta, appressati / “Come, O delight, come closer”).

Set design by Philippe Chaperon for Act 1, Scene 2 at the Cairo première.
The King enters, along with the High Priest, Ramfis, and the whole palace court. A messenger announces that the Nubians, led by King Amonasro, are marching towards Thebes. The King declares war and proclaims that Radamès is the man chosen by the goddess Isis to be the leader of the army (The King, Messenger, Radamès, Aida, Amneris, chorus: Alta cagion v’aduna / “Oh fate o’er Egypt looming”). Upon receiving this mandate from the King, Radamès proceeds to the temple of Vulcan to take up the sacred arms (The King, Radamès, Aida, Amneris, chorus: Su! del Nilo al sacro lido / “On! Of Nilus’ sacred river, guard the shores”).

Alone in the hall, Aida feels torn between her love for her father, her country, and Radamès (Aida: Ritorna vincitor / “Return a conqueror”).

Scene 2: Inside the Temple of Vulcan

Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: Possente Ftha … Tu che dal nulla / “O mighty Ptah”). This is followed by the installation of Radamès to the office of commander-in-chief (High Priestess, chorus, Radamès: Immenso Ftha .. Mortal, diletto ai Numi / “O mighty one, guard and protect!”). All present in the temple pray for the victory of Egypt and protection for their warriors (Nume, custode e vindice/ “Hear us, O guardian deity”).

Act 2
Scene 1: The chamber of Amneris

Dances and music to celebrate Radamès’ victory take place (Chorus, Amneris: Chi mai fra gli inni e i plausi / “Our songs his glory praising”‘). However, Amneris is still in doubt about Radamès’ love and wonders whether Aida is in love with him. She tries to forget her doubt, entertaining her worried heart with the dance of Moorish slaves (Chorus, Amneris: Vieni: sul crin ti piovano / “Come bind your flowing tresses”).

When Aida enters the chamber, Amneris asks everyone to leave. By falsely telling Aida that Radamès has died in the battle, she tricks her into professing her love for him. In grief, and shocked by the news, Aida confesses that her heart belongs to Radamès eternally (Amneris, Aida: Fu la sorte dell’armi a’ tuoi funesta / “The battle’s outcome was cruel for your people …”).

Act 2, scene 2, set design for the Cairo premiere by Édouard Desplechin

This confession fires Amneris with rage, and she plans on taking revenge on Aida. Ignoring Aida’s pleadings (Amneris, Aida, chorus: Su! del Nilo al sacro lido / “Up! at the sacred shores of the Nile”), Amneris leaves her alone in the chamber.

Scene 2: The grand gate of the city of Thebes

Radamès returns victorious and the troops march into the city (Chorus, Ramfis: Gloria all’Egitto, ad Iside / “Glory to Egypt, to Isis!”). The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes. The Nubian captives are rounded up, and Amonasro appears among them. Aida immediately rushes to her father, but their true identities are still unknown to the Egyptians, save for the fact that they are father and daughter. Amonasro declares that the Nubian king (he himself) has been slain in battle. Aida, Amonasro, and the captured Ethiopians plead with the Egyptian King for mercy, but the Egyptians call for their death (Aida, Amneris, Radamès, The King, Amonasro, chorus: Che veggo! .. Egli? .. Mio padre! .. Anch’io pugnai / “What do I see?.. Is it he? My father?”).

Claiming the reward promised by the King, Radamès pleads with him to spare the lives of the prisoners and to set them free. Gratefully, the King of Egypt declares Radamès to be his successor and to be his daughter’s betrothed (Aida, Amneris, Radamès, The King, Amonasro, chorus: O Re: pei sacri Numi! .. Gloria all’Egitto / “O King, by the sacred gods …”). Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.

Act 3

“O patria mia”

On the banks of the Nile, near the Temple of Isis

Prayers are said (Chorus, Ramfis, Amneris: O tu che sei d’Osiride / “O thou who to Osiris art …”) on the eve of Amneris and Radamès’ wedding in the Temple of Isis. Outside, Aida waits to meet with Radamès as they had planned (Aida: Qui Radamès verra .. O patria mia / “Oh, my dear country!”).

Amonasro appears and makes Aida agree to find out the location of the Egyptian army from Radamès (Aida, Amonasro: Ciel, mio padre! .. Rivedrai le foreste imbalsamate / “Once again shalt thou gaze.”). When he arrives, Amonasro hides behind a rock and listens to their conversation.

Radamès affirms that he will marry Aida (Pur ti riveggo, mia dolce Aida .. Nel fiero anelito; Fuggiam gli ardori inospiti… Là, tra foreste vergini / “I see you again, my sweet Aida!”), and Aida convinces him to flee to the desert with her.

In order to make their escape easier, Radamès proposes that they use a safe route without any fear of discovery and reveals the location where his army has chosen to attack. Upon hearing this, Amonasro comes out of hiding and reveals his identity. Radamès feels dishonored. At the same time, Amneris and Ramfis leave the temple and, seeing Radamès with their enemy, call the guards. Amonasro and Aida try to convince Radamès to escape with them, but he refuses and surrenders to the imperial guards.

Act 4
Philippe Chaperon’s Act IV scene 2 set design for the 1880 Palais Garnier performance in Paris.
File:Set design by Philippe Chaperon for Act4 sc2 of Aida by Verdi 1880 Paris.jpg
Philippe Chaperon’s Act IV scene 2 set design for the 1880 Palais Garnier performance in Paris.
Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès’ prison cell

Amneris desires to save Radamès (L’aborrita rivale a me sfuggia / “My hated rival has escaped me”). She calls for the guard to bring him to her.

She asks Radamès to deny the accusations, but Radamès refuses. Certain that, as punishment, he will be condemned to death, Amneris implores him to defend himself, but Radamès firmly refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: Già i Sacerdoti adunansi / “Already the priests are assembling”). His decision hurts Amneris.

Radamès’ trial takes place offstage; he does not reply to Ramfis’ accusations and is condemned to death, while Amneris, who remains onstage, pleads with the priests to show him mercy. As he is sentenced to be buried alive, Amneris curses the priests while Radamès is taken away (Judgment scene, Amneris, Ramfis, and chorus: Ahimè! .. morir mi sento / “Alas … I feel death”).

Opening and close of act 4, scene 2:
(“La fatal pietra” and “Morir! Sì pura e bella”, with some cuts in the middle),
sung by Nicola Zerola in 1909
Problems playing this file? See media help.
Scene 2: The lower portion of the stage shows the vault in the Temple of Vulcan; the upper portion represents the temple itself

Radamès has been taken into the lower floor of the temple and sealed up in a dark vault, where he thinks that he is alone. As he hopes that Aida is in a safer place, he hears a sigh and then sees Aida. She has hidden herself in the vault in order to die with Radamès (Radamès and Aida: La fatal pietra sovra me si chiuse. / “The fatal stone now closes over me”). They accept their terrible fate (Radamès: Morir! Si pura e bella / “To die! So pure and lovely!”) and bid farewell to Earth and its sorrows.[31] Above the vault in the temple of Vulcan, Amneris weeps and prays to the goddess Isis. In the vault below, Aida dies in Radamès’ arms. (Chorus, Aida, Radamès, Amneris: Immenso Ftha / “Almighty Ptah.”)

gala

Gala of Stars

Taormina Greek Theatre, August 20th 2017 @ 9.30pm

 

The “Magic World Cultural Award” 2017  will be prized during the evening.

 

TICKETS on boxol.it and ticketone.it
Stalls (Parterre): € 60,00
Gallery: € 50,00
Upper circle (numbered seats): € 33,00
Upper circle (non-numbered seats): € 22,00

 

aida-biglietti

Aida by Giuseppe Verdi

Taormina Greek Theatre, Saturday 19 August 2017 @ 9.30pm

Aida is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in Egypt, it was commissioned by and first performed at Cairo’s Khedivial Opera House on 24 December 1871; Giovanni Bottesini conducted after Verdi himself withdrew. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York’s Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Ghislanzoni’s scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera.

TICKETS on  ticketone.it and boxol.it
Stalls (Parterre): € 85,00
Gallery: € 65,00
Upper circle (numbered seats): € 50,00
Upper circle (non-numbered seats): € 27,50

Ticket Office in Taormina @ Taormina Arte:
Congress Hall >> 10-12am / 5.00-7.00pm (9.00pm on event’s day)
Tel. +39 0942.628730 – 0039 0942 21142 info@taormina-arte.com www.taormina-arte.com

 

 

Synopsis
Antecedent: The Egyptians have captured and enslaved Aida, a Nubian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the Pharaoh. To complicate the story further, the Pharaoh’s daughter Amneris is in love with Radamès, although he does not return her feelings.

Act 1
Scene 1: A hall in the King’s palace; through the rear gate the pyramids and temples of Memphis are visible

Ramfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Nubians seems inevitable, and Radamès hopes that he will be chosen as the Egyptian commander (Ramfis, Radamès : Sì, corre voce l’Etiope ardisca / “Yes, it is rumored that Ethiopia dares once again to threaten our power”).

Radamès dreams both of gaining victory on the battlefield and of Aida, the Nubian slave, with whom he is secretly in love (Radamès: Se quel guerrier io fossi! … Celeste Aida / “Heavenly Aida”). Aida, who is also secretly in love with Radamès, is the captured daughter of the Nubian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude.

Amneris, the daughter of the Egyptian King, enters the hall. She too loves Radamès, but fears that his heart belongs to someone else (Radamès, Amneris: Quale insolita gioia nel tuo sguardo / “In your looks I trace a joy unwonted”).

Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed. She suspects that Aida could be her rival, but is able to hide her jealousy and approach Aida (Amneris, Aida, Radamès: Vieni, o diletta, appressati / “Come, O delight, come closer”).

Set design by Philippe Chaperon for Act 1, Scene 2 at the Cairo première.
The King enters, along with the High Priest, Ramfis, and the whole palace court. A messenger announces that the Nubians, led by King Amonasro, are marching towards Thebes. The King declares war and proclaims that Radamès is the man chosen by the goddess Isis to be the leader of the army (The King, Messenger, Radamès, Aida, Amneris, chorus: Alta cagion v’aduna / “Oh fate o’er Egypt looming”). Upon receiving this mandate from the King, Radamès proceeds to the temple of Vulcan to take up the sacred arms (The King, Radamès, Aida, Amneris, chorus: Su! del Nilo al sacro lido / “On! Of Nilus’ sacred river, guard the shores”).

Alone in the hall, Aida feels torn between her love for her father, her country, and Radamès (Aida: Ritorna vincitor / “Return a conqueror”).

Scene 2: Inside the Temple of Vulcan

Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: Possente Ftha … Tu che dal nulla / “O mighty Ptah”). This is followed by the installation of Radamès to the office of commander-in-chief (High Priestess, chorus, Radamès: Immenso Ftha .. Mortal, diletto ai Numi / “O mighty one, guard and protect!”). All present in the temple pray for the victory of Egypt and protection for their warriors (Nume, custode e vindice/ “Hear us, O guardian deity”).

Act 2
Scene 1: The chamber of Amneris

Dances and music to celebrate Radamès’ victory take place (Chorus, Amneris: Chi mai fra gli inni e i plausi / “Our songs his glory praising”‘). However, Amneris is still in doubt about Radamès’ love and wonders whether Aida is in love with him. She tries to forget her doubt, entertaining her worried heart with the dance of Moorish slaves (Chorus, Amneris: Vieni: sul crin ti piovano / “Come bind your flowing tresses”).

When Aida enters the chamber, Amneris asks everyone to leave. By falsely telling Aida that Radamès has died in the battle, she tricks her into professing her love for him. In grief, and shocked by the news, Aida confesses that her heart belongs to Radamès eternally (Amneris, Aida: Fu la sorte dell’armi a’ tuoi funesta / “The battle’s outcome was cruel for your people …”).

Act 2, scene 2, set design for the Cairo premiere by Édouard Desplechin

This confession fires Amneris with rage, and she plans on taking revenge on Aida. Ignoring Aida’s pleadings (Amneris, Aida, chorus: Su! del Nilo al sacro lido / “Up! at the sacred shores of the Nile”), Amneris leaves her alone in the chamber.

Scene 2: The grand gate of the city of Thebes

Radamès returns victorious and the troops march into the city (Chorus, Ramfis: Gloria all’Egitto, ad Iside / “Glory to Egypt, to Isis!”). The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes. The Nubian captives are rounded up, and Amonasro appears among them. Aida immediately rushes to her father, but their true identities are still unknown to the Egyptians, save for the fact that they are father and daughter. Amonasro declares that the Nubian king (he himself) has been slain in battle. Aida, Amonasro, and the captured Ethiopians plead with the Egyptian King for mercy, but the Egyptians call for their death (Aida, Amneris, Radamès, The King, Amonasro, chorus: Che veggo! .. Egli? .. Mio padre! .. Anch’io pugnai / “What do I see?.. Is it he? My father?”).

Claiming the reward promised by the King, Radamès pleads with him to spare the lives of the prisoners and to set them free. Gratefully, the King of Egypt declares Radamès to be his successor and to be his daughter’s betrothed (Aida, Amneris, Radamès, The King, Amonasro, chorus: O Re: pei sacri Numi! .. Gloria all’Egitto / “O King, by the sacred gods …”). Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.

Act 3

“O patria mia”

On the banks of the Nile, near the Temple of Isis

Prayers are said (Chorus, Ramfis, Amneris: O tu che sei d’Osiride / “O thou who to Osiris art …”) on the eve of Amneris and Radamès’ wedding in the Temple of Isis. Outside, Aida waits to meet with Radamès as they had planned (Aida: Qui Radamès verra .. O patria mia / “Oh, my dear country!”).

Amonasro appears and makes Aida agree to find out the location of the Egyptian army from Radamès (Aida, Amonasro: Ciel, mio padre! .. Rivedrai le foreste imbalsamate / “Once again shalt thou gaze.”). When he arrives, Amonasro hides behind a rock and listens to their conversation.

Radamès affirms that he will marry Aida (Pur ti riveggo, mia dolce Aida .. Nel fiero anelito; Fuggiam gli ardori inospiti… Là, tra foreste vergini / “I see you again, my sweet Aida!”), and Aida convinces him to flee to the desert with her.

In order to make their escape easier, Radamès proposes that they use a safe route without any fear of discovery and reveals the location where his army has chosen to attack. Upon hearing this, Amonasro comes out of hiding and reveals his identity. Radamès feels dishonored. At the same time, Amneris and Ramfis leave the temple and, seeing Radamès with their enemy, call the guards. Amonasro and Aida try to convince Radamès to escape with them, but he refuses and surrenders to the imperial guards.

Act 4
Philippe Chaperon’s Act IV scene 2 set design for the 1880 Palais Garnier performance in Paris.
File:Set design by Philippe Chaperon for Act4 sc2 of Aida by Verdi 1880 Paris.jpg
Philippe Chaperon’s Act IV scene 2 set design for the 1880 Palais Garnier performance in Paris.
Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès’ prison cell

Amneris desires to save Radamès (L’aborrita rivale a me sfuggia / “My hated rival has escaped me”). She calls for the guard to bring him to her.

She asks Radamès to deny the accusations, but Radamès refuses. Certain that, as punishment, he will be condemned to death, Amneris implores him to defend himself, but Radamès firmly refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: Già i Sacerdoti adunansi / “Already the priests are assembling”). His decision hurts Amneris.

Radamès’ trial takes place offstage; he does not reply to Ramfis’ accusations and is condemned to death, while Amneris, who remains onstage, pleads with the priests to show him mercy. As he is sentenced to be buried alive, Amneris curses the priests while Radamès is taken away (Judgment scene, Amneris, Ramfis, and chorus: Ahimè! .. morir mi sento / “Alas … I feel death”).

Opening and close of act 4, scene 2:
(“La fatal pietra” and “Morir! Sì pura e bella”, with some cuts in the middle),
sung by Nicola Zerola in 1909
Problems playing this file? See media help.
Scene 2: The lower portion of the stage shows the vault in the Temple of Vulcan; the upper portion represents the temple itself

Radamès has been taken into the lower floor of the temple and sealed up in a dark vault, where he thinks that he is alone. As he hopes that Aida is in a safer place, he hears a sigh and then sees Aida. She has hidden herself in the vault in order to die with Radamès (Radamès and Aida: La fatal pietra sovra me si chiuse. / “The fatal stone now closes over me”). They accept their terrible fate (Radamès: Morir! Si pura e bella / “To die! So pure and lovely!”) and bid farewell to Earth and its sorrows.[31] Above the vault in the temple of Vulcan, Amneris weeps and prays to the goddess Isis. In the vault below, Aida dies in Radamès’ arms. (Chorus, Aida, Radamès, Amneris: Immenso Ftha / “Almighty Ptah.”)

Alvaro s

Avaro Soler

Summer Tour 2017

 

 

Taormina Greek Theatre, Thursday August 17th 2017 @ 9.00pm

Álvaro Tauchert Soler born in Barcelona, Spain on 9 January 1991) is a Spanish Latin pop musician. He rose to prominence across Europe and Latin America with his 2015 hit “El mismo sol”, primarily hitting success in Italy.His follow up single “Sofia” in 2016 also achieved chart success in European countries, reaching number 1 in Poland, Italy and Switzerland.
The two singles and the single “Eterno Agosto” prized him with 13 platinum discs.

TICKETS on ticketone.it and boxol.it
Stalls (Parterre): € 69,00
Gallery: € 57,50
Upper circle (numbered seats): € 46,00
Upper circle (non-numbered seats): € 34,50

Ticket Office in Taormina @ Taormina Arte:
Congress Hall >> 10-12am / 5.00-7.00pm (9.00pm on event’s day)
Tel. +39 0942.628730 – 0039 0942 21142 info@taormina-arte.com www.taormina-arte.com

 

 

supplian advLe Supplici

The Suppliants

a Greek Tragedy by Aeschylus

Greek Thatre, August 16th 2017 @ 9.30pm

Directed and permormed by Moni Ovadia and Mario Incudine

 

A Sicilian interpretation of the Greek tragedy, a colorful and choral event sang in Sicilian and modern Greek languages, full of social messages.

The Suppliants, also called The Suppliant Maidens, or The Suppliant Women, is a play by Aeschylus. It was probably first performed sometime after 470 BC. It was long thought to be the earliest surviving play by Aeschylus due to the relatively anachronistic function of the chorus as the protagonist of the drama. However, evidence

Plot The Danaids form the chorus and serve as the protagonists. They flee a forced marriage to their Egyptian cousins. When the Danaides reach Argos, they entreat King Pelasgus to protect them. He refuses pending the decision of the Argive people, who decide in the favor of the Danaids. Danaus rejoices the outcome, and the Danaids praise the Greek gods. Almost immediately, a herald of the Egyptians comes to attempt to force the Danaids to return to their cousins for marriage. Pelasgus arrives, threatens the herald, and urges the Danaids to remain within the walls of Argos. The play ends with the Danaids retreating into the Argive walls, protected.

TICKETS on boxol.it
Stalls (Parterre): € 30,00
Gallery: € 20,00
Upper circle (numbered seats): € 10,00

Ticket Offices in Taormina
Casa del Cinema of Taormina Arte in Corso Umberto n. 61
Tabacchi Shop “La6” in via Bagnoli Croci n. 90 Taormina – T. 0942 23226 – open 6.00am – 1.00pm and 4.30pm – 8.30pm
Congress Hall (only on da’s event) >> 10-12am / 5.00-7.00pm (till 9.00pm on event’s day)

More info: anfiteatrosicilia.it

mario-incudine

 

 

Opera pupi 15 agoOpera dei Pupi
The Puppet Opera experience

Castelmola, Museum of the Castello di Mola – August 15th 2017 @ 5.30pm and 7.30pm

Ticket: 5,00 euro

 

Two performances, at 5.30pm and 7.30pm
For more info:

www.museocastellodimola.itmuseodelcastellodimola@gmail.com

mobile: 0039 0942 320 177 3210 – 0039 0942 333 364 2964

 

 

59° Festival Dei 2 Mondi, (FOTO GRATUITE)Odissea A/R

Odyssey roundtrip

Ancient Theatre, August Sunday 13th 2017 @ 9.30pm

Freely adapted from the Greek poem by Homer

 

Director: Emma Dante
Set and costumes: Emma Dante
Lights: Cristian Zucaro
Sounds: Gabriele Gugliara
Performers: the students of the Scuola dei mestieri dello spettacolo of the Biondo Theatre in Palermo: Manuela Boncaldo, Sara Calvario, Toty Cannova, Silvia Casamassima, Domenico Ciaramitaro, Mariagiulia Colace Francesco Cusumano, Federica D’Amore, Clara De Rose, Bruno Di Chiara, Silvia Di Giovanna, Giuseppe Di Raffaele Marta Franceschelli, Salvatore Galati, Alessandro Ienzi, Francesca Laviosa, Nunzia Lo Presti, Alessandra Pace Vittorio Pissacroia, Lorenzo Randazzo, Simona Sciarabba, Giuditta Vasile, Claudio Zappalà

 

TICKETS on boxol.it and ticketone.it

Stalls (Parterre): € 33,00
Gallery: € 27,50
Upper circle (numbered seats): € 16,50

Ticket Offices in Taormina
Casa del Cinema of Taormina Arte in Corso Umberto n. 61
Tabacchi Shop “La6” in via Bagnoli Croci n. 90 Taormina – T. 0942 23226 – open 6.00am – 1.00pm and 4.30pm – 8.30pm
Congress Hall (only on da’s event) >> 10-12am / 5.00-7.00pm (till 9.00pm on event’s day)

cin_ci-900x556

Cin Ci Là

Operetta
Libretto of Carlo Lombardo, music by Virgilio Ranzato

Ancient Theatre, August 11th 2017 @9.30pm

 

Operetta is a genre of light opera, light in terms both of music and subject matter.

Cin Ci Là is set in Macao. The Young prince Ciclamino has marrried the shy princess Myosotis…. but they need some help for the consummation of their marriage. And the help arrives from two Pariesians.

 

TICKETS on boxol.it and ticketone.it
Stalls (Parterre): € 45,00
Gallery: € 45,00
Upper circle (numbered seats): € 32,00
Upper circle (non-numbered seats): € 16,50

Ticket Office in Taormina @ Taormina Arte:
Congress Hall >> 10-12am / 5.00-7.00pm (9.00pm on event’s day)
Tel. +39 0942.628730 – 0039 0942 21142 info@taormina-arte.com www.taormina-arte.com

 

Dante 1

Infernu di Dante

Alcantara Gorges, Motta Camastra (ME), 20 km from Taormina

August 11, 12 and 13 2017 @ 8.45pm (1st turn), 9.45pm (2nd turn), 10.45pm (3rd turn)

Ticket: € 11,50
Free car parking

 

An innovative interpretation of the Inferno, “Hell”, the first part of Dante Alighieri’s 14th-century epic poem Divine Comedy. It is followed by Purgatorio and Paradiso.
The Inferno tells the journey of Dante through Hell, guided by the ancient Roman poet Virgil. In the poem, Hell is depicted as nine concentric circles of torment located within the Earth; it is the “realm … of those who have rejected spiritual values by yielding to bestial appetites or violence, or by perverting their human intellect to fraud or malice against their fellowmen”. As an allegory, the Divine Comedy represents the journey of the soul toward God, with the Inferno describing the recognition and rejection of sin.

Performers
Berta Ceglie (Dante Alighieri), Camillo Sanguedolce (Caronte, Brunetto Latini), Tecla Guzzardi (Francesca), Elmo Ler (Farinata), Antonio Marino (Ulisse), Sebastiano Mancuso (Conte Ugolino).
Virgilio (the mime actor Rosario Vasile and the voice-over by Giovanni Anzalone).

Other performers
City Ballet Company (Tecla Guzzardi, Chiara Coco, Giulia Bertino e Michelangela Cristaldi)
Anima Ignis Company, fire jugglers.
Costumes by Gabriella Ferrera
Setting by Sergio Platania
effects by Sergio Greco.

Infernu Manifesto piccolo
TICKETS on boxol.it

Friday 11 August > tickets

Saturday 12 August > tickets

Sunday 13 August > tickets

 

Please remember to wear comfortable shoes as the set of performance is the pebbly bank of the river Alcantara.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ezio

Ezio Bosso and the Sicilian Symphonic Orchestra

Ancient Theatre, Auguist Thursday 10th 2017 @ 9.30pm

 

TICKETS on boxol.it
Stalls (Parterre): € 53,00
Gallery (central): € 43,00
Upper circle (numbered seats): € 32,00
Upper circle (non-numbered seats): € 22,00

Ticket Offices in Taormina
Casa del Cinema of Taormina Arte in Corso Umberto n. 61
Tabacchi Shop “La6” in via Bagnoli Croci n. 90 Taormina – T. 0942 23226 – open 6.00am – 1.00pm and 4.30pm – 8.30pm
Congress Hall (only on da’s event) >> 10-12am / 5.00-7.00pm (till 9.00pm on event’s day)

 

uto ughi e ezio bosso