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Luciano Ganci sings asPinkerton in Madama Butterfly

Rome Opera| 17, 22, 25 June

Tenor Luciano Ganci continues with his steady series of signature roles at the Opera di Roma. Since November 2022, he has sung as Cavaradossi, Radamès and Canio in the opera house of his native city, and on 17/22/25 will be Pinkerton in Madama Butterflywith stage direction by Àlex Ollé(La Fura dels Baus), stage sets by Alfons Flores, costumes by Lluc Castells, lighting by Marco Filibeckand videos by Franc Aleu. Maestro Roberto Abbadowill conduct the Orchestra and Chorus of the Opera di Roma."Citing Hegel, 'Nothing is deeper than what appears on the surface' and in Madama ButterflyPuccini's intention with this tragic story was to turn Pinkerton's absurd superficiality into something deep, giving him a role that is as majestic in terms of vocal splendour as it is a worthless and superficial in thought and behaviour", says Lucian Ganci. "This 'everyone does it so I will too' is a type of superficiality that still features in the atrocities we hear in the news, a clear sign that we keep on failing to learn from history; that we have made progress in terms of technology but not of humanity, and this makes Pinkerton both a victim and an oppressor. He is victim of the customs of the time and his own lack of judgement caused partly by his young age, and oppressor of a dream, of love, and of a culture so unlike his own, considered to be inferior and unworthy of respect.He can't be the object of hatred from the outset; he has to be loved, to come across as likeable. We don't hate Pinkerton before the second act; we wouldn't be able to enjoy the plot of this marvellous opera and this character, condemned to remember the consequences of his superficiality when he sees Cio-Cio-San dying in his arms and the son she bore him. He will bear the unatoned guilt of a society that over a century later, despite changing attitudes, still fails to understand the value of respecting women and other cultures. Pinkerton has appeared quite frequently in my recent career and I'm always delighted to interpret this role because I love appearing laid-back on stage and bringing to life a character whom I can't absolve for his behaviour, but whom I admire for the music that Giacomo Puccini composed for him to sing. Only in the third act does his cowardliness appear; so first let me enjoy the rest, so that the audience can enjoy it too. He will be condemned by everyone, but let him make his mistakes throughout the first act. The music deserves it!"

May 20, 2023


Luciano Ganci sings in Verdi's Requiem Mass Milan Cathedral, Monday, May 22, at 7:00 PM

The "Manzoni May in the Cathedral," ongoing in Milan since May 9, will culminate on May 22 - the 150th anniversary of Manzoni's death - with the reading of chapters XX and XXI of "The Betrothed" and the subsequent performance of Verdi's Requiem, entrusted to the Symphony Orchestra and the Symphony Chorus of Milan, conducted by Riccardo Frizza, and featuring the soloists Luciano Ganci, Serena Farnocchia, Anna Maria Chiuri, and Luiz-Ottavio Faria.

Luciano Ganci stated: "I am honored to lend my voice as a tenor in Verdi's Requiem, which will be the culminating event of the celebrations that Milan is dedicating to the 150th anniversary of Manzoni's death. I have been performing the Requiem by Verdi for many years because it is not only a magnificent symphonic choral work but a true spiritual experience in which one can surrender their voice to the highest form of meditation: prayer. It represents a journey that begins and ends with a pianissimo, just as it happens in the mother's womb when life is generated, similarly to the last breath that bids farewell to this world. In between, there is life, feelings, fears, pains, and joys. The memory of my first Requiem is indelible because during the rehearsals at the Verdi Theater in Trieste, Pope Francis was elected. Subsequently, I performed it at the Auditorium della Conciliazione in Rome, and again in Rome at the Ara Coeli with the late Maestro Gelmetti, then at the Petruzzelli Theater in Bari, at the Theater in Lecce, and recently in Lisbon at the Teatro de Sao Carlos. Singing it in the Milan Cathedral is another extraordinary milestone for which I thank those who invited me."

The concert is organized by the Milanese Committee of the National Institute for the History of the Italian Risorgimento, with the participation of the Veneranda Fabbrica del Duomo and the Symphony Orchestra of Milan, and with the support of the Fondazione Per Milano.

The event will be broadcast live on the "Duomo Milano TV" YouTube channel and on May 29, it will be aired on Classica HD (Sky, Channel 136).



World premiere of the critical edition Sunday 14 May 7 p.m. | Berlin, Konzerthaus ​

It's his first time back at the Berlin Konzerthaus in five years and his first time as Ildemaro in Dalinda, never performed before and brought to the stage for its world premiere in a new critical edition. Luciano Ganci is proud to be taking part in this production in the role of the male character to whom the composer devoted some of the most intense moments in the opera. The event is eagerly awaited by music lovers around the world, by academics and by Donizetti enthusiasts, and there will be just one performance on 14th May, conducted by Felix Krieger at the helm of the Chor und Orchester der Berliner Operngruppe, with stage installations by Giulia Randazzo. Luciano Ganci says: "When I was offered the opportunity to take part in the first proper performance of Dalinda, I decided after a lot of thought to take up the challenge and to seize this moment in opera history which will bring alive an opera that has never before seen the light of day. Dalinda was written by Donizetti in an attempt to evade the Bourbon censorship to which his Lucrezia Borgia was subjected despite having been staged at La Scala in 1833. Not only did Donizetti insist on radical changes being made to the libretto by Romani, he also decided to rework the score throughout, making significant changes both to the setting and the characters. It was all to no avail, because Dalinda also failed to meet approval at the San Carlo theatre. After that, the fate of the score included being torn apart and its autographs sold. The critical edition has restored Dalinda to its integral form, allowing it to be performed at last, almost two centuries after it was composed. The opera includes most of the music from Lucrezia Borgia, reworked with several notable changes combined with other specially composed music, particularly in the third act: the long, beautiful aria with its cabaletta for Ildemaro, a deeply intense female chorus and the arioso which Ildemaro sings before he dies. Effectively, Dalinda breaks free from its original model, partially acquiring its own identity, and is a surprising reflection of the present day".


Luciano Ganci returns to the Rome Opera for his theatre debut as Canio in Pagliacci performances on 14, 16, 17 and 19 March. ​

Luciano Ganci makes his theatre debut as Canio in Pagliacci at the Teatro dell'Opera di Roma.

The Rome tenor has already sung in this role in a recording released in 2021 and it is now about to become another of his leading roles in his fourth consecutive opera at the Teatro Costanzi in the few months since November 2022. "After making the recording a few years ago and then leaving time for Canio's heart and soul to grow inside me, at last I'm debuting on stage at the Rome opera house as the head of the comedy theatre troupe," says Luciano Ganci. "Canio is an incredible character to portray because he embodies all the drama of the life of an artist. Rather than just singing, he turns the whole phenomenon of life on stage into song, emphasising that the difference between reality and make-believe is so slight that the two often overlap, blending and blurring the truth. I see Canio as a sensitive being, above all weak, forced to wear the mask of the wicked authoritarian as a shield. He's a villain who doesn't realise he is such until he falls victim to hopeless love. "Such great love" for his Nedda turns into murderous instinct, the final sign of weakness in a person who fails to understand where drama ends and real life begins. He is a servant, almost a slave, to the audience who only want to see his "white-powdered face" and to laugh and be entertained, with no care for the person before them who is sick at heart. It is the manifesto of theatre, of the artist and of the fragile state in which all of us live until the end of our days". This production and stage set by Franco Zeffirelli have been revived by Stefano Trespidi and restaged for the centenary of the Florentine artist's birth, with costumes by Raimonda Gaetani and Daniel Oren conducting the Orchestra and Chorus of the Teatro dell’Opera di Roma. Luciano Ganci will be on stage for the performances on 14, 16, 17 and 19 March.


Luciano Ganci returns to the Teatro dell’Opera di Roma Radamès in Aida

performances on 2, 5, 7 and 11 February ​

The Rome tenor, Luciano Ganci, has been a constant on stage here in the 2022/2023 season since last November when he sang as Cavaradossi for the first time in the opera house of his native city. The partnership continues and early this year, 2023, he returns to the Teatro Costanti, in February as Radamès in Aida, and in March as Canio in I pagliacci. This new production of Aida by the Opera di Roma, benefits from stage direction and choreography by Davide Livermore, stage set by Giò Forma, costumes by Gianluca Falaschi, lighting by Antonio Castro and videos by D-WOK. Michele Mariotti conducts the orchestra and chorus prepared by Ciro Visco. “To be back singing as Radamès gives me great joy and is, above all, a fine personal challenge” Ganci says. “In this extraordinarily beautiful opera I love putting to the test my own vocal and psychological research into a character and this always offers me new ideas on which to reflect. Having the opportunity to sing in this role in my ‘home’ theatre under the guidance of a great conductor and an equally great stage director is even more stimulating, because I can add precious suggestions and personal intuitions from two other artists to my research. Setting foot on stage at the Teatro Costanzi is always extremely moving for a Roman and being on stage with such amazing colleagues, and with people who have shared so many wonderful moments with me in the past and who I’ve met again in the chorus and amongst the technical staff, makes me feel even more at home. I love saying that Radamès is in my blood, because I was born in the area known as ‘Piramide’, so I’ll be giving my all for my city, for this theatre and for Verdi!" Luciano Ganci sings in performances on 2, 5, 7 and 11 February.

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