Aida
an opera by Giuseppe Verdi
Ancient Theatre, Tuesday 11th August 2020 @ 9.30 pm
TICKETS on boxol.it and ticketone.it from € 22,00
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 …”).
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 3: 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.”)
MORE INFO
Fondazione Taormina Arte > www.taoarte.it – info@taormina-arte.com – T. 0039 391 746 2146
WHERE TO STAY
Hotel La Pensione Svizzera (reopening in 2021) – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 13 – Edoardo Bennato
Edoardo Bennato
in
Sono solo Canzonette
Peter Pan Rock’n’Roll Tour 2020
Ancient Theatre, Thursday 13th August 2020 @ 9.30 pm
Edoardo Bennato (born July 23, 1946, Naples, Italy) is an Italian singer-songwriter.
His career began in the early Sixties as one of the most creative and innovative songwriters of his time. His music distinguished itself for being an imaginative blend of blues, rock and roll, folk influences and even hints of opera
On stage the “Be Band” made by Giuseppe Scarpato (guitars), Raffaele Lopez (keyboards), Gennaro Porcelli (guitars), Arduino Lopez (bass), Roberto Perrone (drums).
TICKEST on ticketone.it
Cavea – sector 1, central > € 59,19
Cavea – sector 2, lateral > € 39,90
MORE INFO
www.bennato.net
www.facebook.com/EdoardoBennato
Fondazione Taormina Arte > www.taoarte.it – info@taormina-arte.com – T. 0039 391 746 2146
WHERE TO STAY
Hotel La Pensione Svizzera (reopening in 2021) – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 12 – Carmina Burana
Carmina Burana
A scenic cantata by Carl Orff
Ancient Theatre, Wednesday 12th August 2020
Tonight the Fondazione Taormina Arte and the Symphonic Orchestra of the Teatro Massimo Bellini of Catania present Carmina Burana
Carmina Burana is a scenic cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (“Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images”). It was first performed by the Oper Frankfurt on 8 June 1937. The first and last section of the piece are called “Fortuna Imperatrix Mundi” (“Fortune, Empress of the World”) and start with the very well known “O Fortuna”.
Director: Dario Lucantoni
Choirmaster: Luigi Petrozziello
Choirmaster, white voice: Daniela Giambra
Soprano: Eleonora Bellocci
Tenor: Shalva Mukeria
Baritone: Franco Vassallo
Orchestra, Chorus and technical staff > Teatro Massimo Bellini of Catania
TICKETS on boxol.it
Cavea – sector 1, central > € 33,00
Cavea – sector 2, intermediate > € 22,00
Cavea – sector 3, lateral > € 16,50
MORE INFO
Fondazione Taormina Arte > www.taoarte.it – info@taormina-arte.com – T. 0039 391 746 2146
WHERE TO STAY
Hotel La Pensione Svizzera – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 11 – Aida by G. Verdi
Aida
an opera by Giuseppe Verdi
Ancient Theatre, Tuesday 11th August 2020 @ 9.30 pm
TICKETS on boxol.it and ticketone.it from € 22,00
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 …”).
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 3: 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.”)
MORE INFO
Fondazione Taormina Arte > www.taoarte.it – info@taormina-arte.com – T. 0039 391 746 2146
WHERE TO STAY
Hotel La Pensione Svizzera (reopening in 2021) – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 9 – Il sogno di un uomo ridicolo
Il Sogno di un Uomo Ridicolo
a story by Fyodor Dostoyevsky
“The Dream of a Ridiculous Man”
Ancient Theatre, Sunday 9th August 2020 @9.30
A play with: Gabriele Lavia
Gabriele Lavia
Direction: Gabriele Lavia
The Fondazione Taormina Arte presents a short story by the Russian writer Fyodor Dostoyevsky with the direction and interpretation of the great Gabriele Lavia, one of the most important figures on the Italian stage scene.
Gabriele Lavia becomes an actor and plays this deep and passionate reflection on the conditions of the human being.
“The Dream of a Ridiculous Man” is a short story by Fyodor Dostoyevsky written in 1877. It chronicles the experiences of a man who decides that there is nothing of any value in the world. Slipping into nihilism with “terrible anguish”, he is determined to commit suicide. However, after a chance encounter with a young girl, he begins an inner journey that re-instills a love for his fellow man.
COMUNICATO STAMPA – ITALIAN PRESS RELEASE
TICKETS on boxol.it
Cavea, numbered seats: € 20,00
ITA – Description
Gabriele Lavia diventa attore ed interpreta Il sogno di un uomo ridicolo di Fedor Dostoevskij. La pièce teatrale offre una riflessione profonda e appassionata sulla condizione dell’essere umano. Il monologo rappresenta un mondo che si è condannato alla sofferenza, auto-recluso, serrato e costretto in una metaforica camicia di forza, condizione e impedimento di ogni buona azione. Gabriele Lavia in più momenti della sua carriera si è confrontato con questo testo:
“La prima volta lo lessi a degli amici a 18 anni e ancora non ero un attore”, ricorda, “oggi è passata una vita e Il sogno è quasi un’ossessione. Ho scelto di rimetterlo in scena per riaffermare con forza come l’indifferenza, la corruzione e la degenerazione non possano essere le condizioni di vita della nostra società”.
MORE INFO
Fondazione Taormina Arte > www.taoarte.it – info@taormina-arte.com – T. 0039 391 746 2146
WHERE TO STAY
Hotel La Pensione Svizzera (reopening in 2021) – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 8 – Ben Harper And The Innocent Criminals
Ben Harper And The Innocent Criminals
Ancient Theatre, Saturday 7th August 2021 @9.45pm
– “Note: The concert was initially scheduled for August 8th 2020 and was postponed due to covid-19. Tickets already purchased remain valid for the new date” –
Benjamin Chase Harper (born October 28, 1969) is an American singer-songwriter and multi-instrumentalist. Harper plays an eclectic mix of blues, folk, soul, reggae, and rock music and is known for his guitar-playing skills, vocals, live performances, and activism. He has released twelve regular studio albums, mostly through Virgin Records and has toured internationally.
Harper is a three-time Grammy Award winner and seven-time nominee, with awards for Best Pop Instrumental Performance and Best Traditional Soul Gospel Album in 2004 and Best Blues Album in 2013.
At the 40th Blues Music Awards ceremony, Harper’s joint composition with Charlie Musselwhite, “No Mercy In This Land”, was named as ‘Song of the Year’.
TICKETS on boxol.it and ticketone.it
Stalls (Parterre): € 110,00
Gallery (central): € 110,00
Gallery (lateral): € 95,00
Upper circle (numbered seats): € 66,00
Upper circle (non-numbered seats): € 50,00
MORE INFO
www.benharper.com
WHERE TO STAY
Hotel La Pensione Svizzera – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 8 – Medea by Euripide
Federica Di Martino > Medea
Medea
Ancient Theatre, Saturday 8th August 2020@ 9.30pm
National Premiere
With Federica De Martino and Simone Toni
Direction Gabriele Lavia
Simone Toni
The Fondazione Taormina Arte presents the most famous tragedy of Euripides with the direction of the great Italian Adaptation and Direction by Gabriele Lavia, one of the most important figures on the Italian stage scene
Medea is an ancient tragedy based upon the myth of Jason and Medea and first produced in 431 BC.
The plot centers on the actions of Medea, a former princess of the “barbarian” kingdom of Colchis, and the wife of Jason. She is the daughter of King Aeëtes of Colchis, a niece of Circe and the granddaughter of the sun god Helios. The importance of Medea’s genealogy is to help define what level of divinity she possessed.
Medea helpes Jason and the Argonauts to find the Golden Fleece in Colchis, then she leaves her home and family to go to Corinth with Jason becoming his wife. But after 10 years Jason repudiates Medea to marry Glauce the daughter of the king of Corinth.
Medea takes vengeance on Jason by murdering the princess as well as her own children (two sons) to leave him without descendants
COMUNICATO STAMPA – ITALIAN PRESS RELEASE
TICKETS on boxol.it
Cavea, numbered seats: € 20,00
Gabriele Lavia
MORE INFO
Fondazione Taormina Arte > www.taoarte.it – info@taormina-arte.com – T. 0039 391 746 2146
WHERE TO STAY
Hotel La Pensione Svizzera (reopening in 2021) – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 5 – Diodato
Diodato
Ancient Theatre, Wednesday 5th August 2020 @ 9.30pm
Antonio Diodato (born 30 August 1981), known simply as Diodato, is an Italian singer-songwriter.[1] He won the 70th edition of the Sanremo Music Festival with the song “Fai rumore” and was scheduled to represent Italy in the Eurovision Song Contest 2020 in Rotterdam, the Netherlands, before it was cancelled by the EBU on 18 March 2020.
TICKETS on ticketone.it and boxol.it
Numbered seats: € 57,50
MORE INFO
www.diodatomusic.it
www.facebook.com/DiodatoOfficial
WHERE TO STAY
Hotel La Pensione Svizzera (reopening in 2021) – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 4 – Mika
POSTPONED TO 2021 DUE TO COVID-19
Mika
Revelation Tour 2020
Ancient Theatre, August 4th @ 9.42pm
TICKETS on ticketone.it and boxol.it
Stalls (Parterre): € 115,00
Gallery: € 95,00
Upper circle (numbered seats): € 70,00
Upper circle (non-numbered seats): € 50,00
MORE INFO
www.mikamusic.it
www.facebook.com/mikasounds
Where to stay
Hotel La Pensione Svizzera – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 2 – Di Stefano Award
Premio Internazionale Giuseppe Di Stefano
Di Stefano International Award
Ancient Theatre, Sunday 2nd August 2020 @ 9.3 pm
Giuseppe Di Stefano (24 July 1921 – 3 March 2008) was an Italian operatic tenor, one of the most beautiful voices who sang professionally from the mid 1940s until the early 1990s. He was known as the “Golden voice” or “The most beautiful voice”, as the true successor of Beniamino Gigli. Luciano Pavarotti said he modeled himself after Di Stefano. In an interview Pavarotti said “Di Stefano is my idol. There is a solar voice…It was the most incredible, open voice you could hear. The musicality of di Stefano is as natural and beautiful as the voice is phenomenal“. Di Stefano was also the tenor who most inspired José Carreras.
This year again, in the incomparable setting of our Ancient Theatre, there will be a memorable evening during which some of the greatest artists of the lyrical and cultural world will honor the great Sicilian tenor and receive the Giuseppe Di Stefano International Award.
Direction: Francesco Costa
Piano: Ruben Micieli
Voices: Coro Lirico Siciliano
TICKETS on ticketone.it
Cavea (upper circle) – sector 1, central : € 71,50 – Reduced (under 25/over 65) € 57,50
Cavea (upper circle) – sector 2, intermediate: € 51,50 – Reduced (under 25/over 65) € 41,50
Cavea (upper circle) – sector 3, lateral: € 31,50 – Reduced (under 25/over 65) € 26,50
MORE INFO
Coro Lirico Siciliano > www.facebook.com/coroliricosiciliano – grancoro@hotmail.it – T. 0039 347 515 5833
Festival dei Teatri della Pietra > T. and Whatsapp: 0039 351 546 0236
WHERE TO STAY
Hotel La Pensione Svizzera (reopening in 2021) – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta
Aug. 2 – Ficarra e Picone
Ficarra and Picone
Ancient Theatre, Sunday 2nd August 2020 @9.00pm
(EVENT IN ITALIAN)
Salvatore Ficarra (Palermo, 27 May 1971) and Valentino Picone (Palermo, 23 March 1971) are an Italian comedy duo who work on stage, films, television and books as Ficarra e Picone.
TICKETS on ticketone.it >> CLICK HERE
Subject to availability, groups of four people can buy four tickets at special price (“For you” package)
Stalls (Parterre)
Full price: € 69,00
Package “For you”: € 51,75
Gallery
Full price: € 59,00
Package “For you”: € 44,25
Upper circle (numbered seats)
Full price: € 49,00
Package “For you”: € 36,75
Upper circle (non-numbered seats): € 28,75
MORE INFO
FB www.facebook.com/FicarraePicone
WHERE TO STAY
Hotel La Pensione Svizzera – Hotel Villa Schuler – Hotel Villa Ducale – Hotel Villa Carlotta