IL SINDACO
Il successo delle ultime stagioni, con numeri da tutto esaurito,
colloca il Teatro Regio ad elevati livelli nel panorama degli enti lirici
italiani.
Rappresentazioni di capolavori come Falstaff e Turandot e regie
innovative come Salomé e La Clemenza di Tito hanno calamitato una forte
presenza di spettatori. Questa è la prova che la passione, l’amore per il
teatro e le capacità organizzative profuse sono riuscite a superare
egregiamente le difficoltà imposte dai trasferimenti pubblici. Anzi, mi par
di constatare e sottolineare che pur tra mille sacrifici, la Fondazione è
riuscita ad esprimere il meglio mantenendo ricco il cartellone del teatro e
sempre alta l’attenzione dei melomani.
Una Fondazione musicale che può contare su un pubblico
consolidato e orgoglioso del suo teatro e che apprezza le scelte artistiche
dei suoi responsabili, sono sicuro saprà continuare sulle linee
d’innovazione finora seguite.
Mi auguro quindi che sempre più le proposte del Teatro Regio mantengano
il vigore e la forza attrattiva per portare verso la lirica non solo i
tradizionali appassionati ma anche le generazioni più giovani.
Ringrazio infine il direttore musicale Gianandrea Noseda e il
sovrintendente Walter Vergnano, i collaboratori e le maestranze per avere
perfezionato un cartellone di spettacoli che, sono certo, raccoglierà il
consenso del pubblico torinese.
Sergio Chiamparino
Torino, 28 maggio 2008
2008-2009 Opera Season
Great titles beyond the bounds
of the usual repertoire
PRESS RELEASE
Ten titles, nine of which are operas, making for an increase of 10% in the number of opera
performances. The most prestigious dance with the participation of the Ballet Nacional de España,
representing the highest level of the school of flamenco. Five new stagings, realised in our set
workshops , two of which are co-productions with other important opera theatres. The growing
commitment with RegioneInTour, the successful opera circuit realised together with the Piedmont
Region and the increase in undertakings at an international level: the Chorus of the Regio , last
November in Cologne, invited by Semyon Bychkov; the Orchestra and Chorus of the Theatre in
Rigoletto with Gianandrea Noseda conducting, the only Italian representation at the Maifestspiel in
Wiesbaden, next 30 and 31 May. And then the tour that will take the artistic groups of the Regio to
Japan in July 2010.
Elements that testify to the phases in the continuous growth of the Theatre and that mark
the achievement of certain objectives fixed in advance with the arrival of Gianandrea Noseda. If
the guidance of a Music Director of this calibre is therefore a fundamental artistic impulse, another
reason to be proud is the increase in production, made possible by more personnel, allowing the
Regio to respond better to the real needs of production growth and an improvement in quality and
to face the commitments programmed at an international level.
To all of this is added an extremely positive response from the public, which continues to
reward us with its growing presence – “sold out” is by now the rule – and shows great openmindedness and curiosity towards more innovative works. It is no coincidence that the most
applauded productions of the 2007-2008 Season were Salome and The Clemency of Titus – directed
respectively by Robert Carsen and Graham Vick – two avante-garde and “courageous” stagings
that prove how well opera can communicate with contemporary audiences.
Finally, but no less important, is the constant presence of Members of the Foundation and
the particular commitment of the Compagnia di San Paolo, Fondazione CRT and Gruppo
Fondiaria SAI, which for the fifth year in a row will help sponsor the inauguration.
After having dealt with the most famous titles, this year the Regio will take a further step,
focusing on great titles beyond the bounds of the usual repertoire.
In fact, it will be Medea by Luigi Cherubini – staged for the first time in Torino – that
inaugurates, on 5 October, the 2008 – 2009 Season (with performances through 22/10). Euripide’s
tragic heroin, who found her most captivating contemporary reincarnation in Maria Callas, will
have the voice of Anna Caterina Antonacci, a charismatic interpreter who faces the role for the first
time in Italy. With her, authentic stars like tenor Giuseppe Sabbatini, Cinzia Forte and Sara
Mingardo. On the podium the happy return of Evelino Pidò. The new staging is by Hugo de Ana,
responsible for the memorable Don Carlo seen in Torino in 2006, whose stimulating interpretations
go hand-in-hand with spectacular visual effects, never banal and rich in symbolism.
The inaugural opera signals the debut as the new Chorus Master of maestro Roberto
Gabbiani, who comes to Torino at the height of a brilliant career which has seen him direct the
choruses of Maggio Musicale Fiorentino, La Scala and the Accademia Nazionale di Santa Sicilia.
At the end of October (26, 28 and 30) the Theatre will present a non-subscription
performance of La Bohème, which, after the summer debut in Racconigi and the performance in
Torino, is destined for the regional circuit. The conducting will be entrusted to the outstanding
twenty-five-year-old Daniele Rustioni, former student of Gianandrea Noseda and since last year
Principal Guest Conductor of the prestigious Mikhailovsky Theatre of St Petersburg. For the
occasion, the historic staging by Eugenio Guglielminetti will be re-proposed, revised by Saverio
Santoliquido and Claudia Boasso, with costumes by Laura Viglione and stage direction by Vittorio
Borelli, talented people brought up at the Regio, where they work every day.
While the artistic groups of the Theatre are busy around the region with La Bohème (5/11 –
9/11), the best of flamenco dance will be on stage at the Regio. The Ballet Nacional de España will
propose two choreographies by José Antonio, entitled Elegía-Homenaje (a Antonio Ruiz Soler) and El
Café de Chinitas. The first is dedicated to Antonio Ruiz Soler, a legend in Spanish dance; the second
is a perfect mix of dance, poetry and passion: flamenco, the poignant popular songs by Federico
García Lorca and the visionary scene-painting by Salvador Dalí.
In December ( 10/12 - 21/12) there will be a new staging of a rarely-performed opera,
Thaïs, a mature work of the composer Jules Massenet. The dramatic force and the modernity of the
orchestral writing have captivated Gianandrea Noseda, who will conduct the opera and thus
begin to measure himself against the French repertoire of the late nineteenth century. For the
occasion, the “stars” are brought into play: in fact, it will be not only a debut for Noseda but also
for the protagonist Barbara Frittoli, who, by choosing the Regio for her debut in this arduous role,
reconfirms her faith in the artistic and technical capacities of the Theatre. The stage direction,
choreography, sets, lighting and costumes will be by Stefano Poda, a one man show of spectacular
visionary style, strongly anchored in the present, a talented young Italian, by now well-known
abroad, whom the Regio keenly desires to introduce to its audiences.
The new year will open with The Tales of Hoffmann by Jacques Offenbach in a new staging
in co-production with Teatro Real de Madrid, Théâtre du Capitole Toulouse and the New Israeli
Opera of Tel Aviv. Nine performances (30/1 – 8/2) of Offenbach’s unfinished opera of a typically
romantic-gothic flavour, last staged in Torino in 1973. A great cast, with, in the title role, Roberto
Aronica, whose confident singing and capacity for in-depth study of his character make him one of
the most requested and respected tenors today, and Désirée Rancatore, Raffaella Angeletti,
Monica Bacelli – the highly-applauded Sextus in The Clemency of Titus – and the alluring Georgian
mezzo-soprano, Nino Surguladze. The show is entrusted to such specialists as conductor
Emmanuel Villaume and stage director Nicolas Joël, the next general manager of the Opéra de
Paris.
In March (4/3 – 15/3), The Italian Girl in Algiers by Gioachino Rossini will be staged. On
the podium, the best possible conductor for this opera, maestro Bruno Campanella, who is
connected to the Regio by a long tradition. In the title role, Vivica Genaux, the American mezzosoprano of great charisma, one of the most respected singers of the Baroque and bel canto
repertoires who performs on the most important stages in the world; with her, Antonio Siragusa
and Roberto de Candia.
In April (14/4 - 26/4) the Regio returns to making the most of its own historical patrimony
with Don Pasquale by Gaetano Donizetti in the beautiful staging by Ugo Gregoretti and Eugenio
Guglielminetti. On the podium the enfant prodige Michele Mariotti, at the age of only twenty-nine
Principal Conductor of the Teatro Comunale of Bologna, who debuts at the Regio after his Barber of
Seville in the summer of 2007. In the title role the important debut of Roberto Scandiuzzi, who,
after numerous dramatic roles, takes on a comedy; with him, the couple – highly applauded in The
Elixir of Love last year – Serena Gamberoni and Francesco Meli.
The month of May (21 -31) will see the return of Gianandrea Noseda to the podium, who,
with his deep knowledge of Russian repertoire, has chosen to measure his skill against The Queen
of Spades, the operatic masterpiece of Peter Ilyich Tchaikovsky, performed in Torino for the first
time in Russian. The Music Director will be collaborating for the first time with Dmitri
Cherniakov, responsible for the stage direction, sets and costumes of the new staging; the
expectations are great for this young director – modern, without being eccentric, strong and
coherent – whom we are sure will be able to give us a version that is in no way classic of “his”
repertoire. Equally brilliant is the cast, in which an extraordinary trio of female voices stands out:
Anja Silja – the very personification of the character – Svetla Vassileva, recent winner of the
“Abbiati” Prize for her interpretation of Rusalka and Julia Gertseva, who will be Tigrana in Edgar
in a few days
In June (12 -19) at the renovated Teatro Carignano, Aci, Galatea e Polifemo will be
performed for the first time in Torino in a new staging by Davide Livermore, in collaboration
with the Teatro San Carlo of Naples. The dramatic cantata by Georg Friedrich Handel will be
performed by the Orchestra Barocca Cappella della Pietà dei Turchini, conducted by Antonio
Florio. This production is realised with the support of the Compagnia di San Paolo and the
collaboration of the Fondazione Teatro Stabile Torino and is part of a new type of joint season
ticket of the two Seasons.
Adriana Lecouvreur by Francesco Cilea is the title that closes the Season (23/6 – 5/7), a
work of elegant sensitivity, an Italian opera that looks back to French theatre. The conducting is
entrusted to the secure baton of Renato Palumbo and the stage direction to Lorenzo Mariani.
Another opera for prima donnas and another debut for an artist on the rise: Micaela Carosi in the
principal role, along with Marcelo Alvarez, one of the most acclaimed tenors in the world,
Marianne Cornetti and Alfonso Antoniozzi.
A season, the one just listed, that traces the guiding lines for the coming years and
describes a Theatre in excellent health with a budget surplus and an enthusiastic public that
continues to grow.
A Theatre that announces with great satisfaction an agreement with Rai-Radio 3, thanks to
which almost all the operas of the next season, whether live or recorded, will have a place in the
radio programming.
Furthermore, the Regio has established an important collaboration with The Opera
Foundation, the New York foundation that promotes artistic exchanges between the United States
and Europe, giving young singers the possibility to gain experience in the most prestigious
theatres. For the Regio, it also represents an opportunity to establish and build strong ties with
other theatres of quality.
In response to the growing demand of the public, in addition to increasing the number of
performances of each title, this year there are new types of season tickets, to give everyone the
possibility of building his/her own personal season with the certainty of having a seat. The choice
can be made among season tickets of 9,8,6,5 or 4 shows, 5 opening nights or the special Harmonies
Series in collaboration with the Teatro Stabile.
The sales campaign for season tickets begins on 14 May and continues through the end of
September. For further information, consult our web-site at www.teatroregio.torino.it, from today
also in English, or contact the Theatre Box Office – Tel. 011 8815 241/242;
[email protected]. Hours: from Tuesday to Friday from 10.30 am to 6 pm; Saturdays
10.30 am – 4 pm.
Torino, 28 May 2008
Paola Giunti
Head of the Press Office
2008-2009 Opera Season
5 – 22 October 2008
Medea
by Luigi Cherubini
26 – 30 October 2008
La Bohème
by Giacomo Puccini
5 – 9 November 2008
Ballet Nacional de España
Elegía-Homenaje (a Antonio Ruiz Soler)
El Café de Chinitas
10 – 21 December 2008
Thaïs
by Jules Massenet
30 January – 8 February 2009
Les Contes d’Hoffmann
by Jacques Offenbach
4 – 15 March 2009
L’italiana in Algeri
by Gioachino Rossini
14 – 26 April 2009
Don Pasquale
by Gaetano Donizetti
21 – 31 May 2009
The Queen of Spades
by Peter Ilyich Tchaikovsky
12 – 19 June 2009
Aci, Galatea e Polifemo
by Georg Friedrich Händel
CAPPELLA DELLA PIETÀ DE’ TURCHINI
23 June – 5 July 2009
Adriana Lecouvreur
by Francesco Cilea
ORCHESTRA AND CHORUS OF THE TEATRO REGIO
2008 – 2009 Opera Season
Opera in crescendo
The potential of an opera theatre can be measured by its ability to confront great
repertoire without being in awe of important interpretations known to the public. Hence the
decision to inaugurate recent seasons with titles like Falstaff, Turandot, Aida: for our artistic and
technical forces, this has been a challenge and a moment of strong growth. The public has
understood our effort and accompanied us in this process of maturation. And it has surprised us
not only by rewarding us with high attendance – “sold out” at Teatro Regio is by now the rule
rather than the exception – but also by rendering successful those productions of titles that are not
so well-known, realised with innovative and courageous stagings: just think of Rusalka, Salome and
The Clemency of Titus. These successes have encouraged us in our decision to take a step forward,
backing important titles of strong artistic impact, chosen also outside the bounds of the usual
repertoire.
The spirit of the entire 2008/2009 season is summed up in the opening opera: Medea was
defined by Brahms as “the supreme summit of dramatic music”: joining the severe aesthetic
principles of Gluck’s reform with the classical equilibrium of “serious” Mozart, Luigi Cherubini
defined a model of Napoleonic opera, austere and monumental, and a necessary forerunner of
French grand-opéra.
In Italy, Medea was not presented until 1909, when it was staged in the Italian version
prepared by librettist Carlo Zangarini. Our production uses the edition edited by Flavio Testi from
original sources for Casa Ricordi, which revives Zangarini’s libretto and includes the recitatives
composed in 1854 by Franz Lachner to substitute the original spoken dialogue. The modern
rediscovery of the opera is linked to the name of Maria Callas, who built her reputation, in great
part, on the recreation, in the 1950s, of the role of Medea, later favoured by other great singers:
from Magda Olivero to Leyla Gencer, from Gwyneth Jones to Shirley Verrett. Teatro Regio has
entrusted the role to Anna Caterina Antonacci, who faces the role for the first time in our country,
and for the first time in Italian. The excellent cast includes tenor Giuseppe Sabbatini, Sara
Mingardo and Cinzia Forte. Evelino Pidò, a sensitive musician and meticulous conductor, returns
to “his” public to lead it in the discovery of this masterpiece. The new staging of Medea is entrusted
to Ugo de Ana, one of the greatest stage directors of opera today, whose stimulating dramaturgical
interpretations go hand-in-hand with sumptuous visual effects which are never banal.
Medea is the first opera that Roberto Gabbiani, as Chorus Master, will be involved in; he
comes to Torino after having directed the choruses of Maggio Musicale Fiorentino, La Scala and
the Accademia di Santa Cecilia. He will be assisted in this important role by Claudio Fenoglio.
Maestro Claudio Marino Moretti, whom we thank for his precious collaboration, will continue his
brilliant career, which began as director of our chorus, at the Teatro La Fenice.
At the end of October, the artistic groups of the Theatre will present to the public, in three
non-subscription performances, La Bohème - one of the emblematic operas of the Regio, which
hosted its world première in 1896 – in the successful staging by Eugenio Guglielminetti, revised
by Saverio Santoliquido and Claudia Boasso, with costumes by Laura Viglione and stage direction
by Vittorio Borelli, all talented people brought up in our Theatre, where they work every day. The
opera will be conducted by Daniele Rustioni, making his opera debut in Italy; former student of
Gianandrea Noseda, since last year he has been Principal Guest Conductor of the prestigious
Mikhailovsky Theatre of St Petersburg. In the cast, soprano Erika Grimaldi in the role of Mimi,
Tomislav Muzek as Rodolfo, Serena Gamberoni as Musetta and Guido Loconsolo as Marcello.
While our artistic groups are busy with the presentation of La Bohème in theatres around
the Region, the stage of the Regio will host the Ballet Nacional de España, the greatest interpreters
of the flamenco school, in two shows that include the best of Spanish culture: El Café de Chinitas, in
which the flamenco choreographed by José Antonio is combined with the poignant popular songs
by Federico García Lorca and the visionary scene-painting by Salvador Dalí, and Elegía-Homenaje,
which José Antonio has dedicated to Antonio Ruiz Soler, a legend of Spanish dance.
The opera season will resume in December with Thaïs. The presence of Massenet is rather
frequent in the Regio seasons, and our orchestra and chorus have always shown a certain
sympathy for this composer. For Music Director Gianandrea Noseda, Thaïs marks the beginning of
his activity conducting the important repertoire bridging the nineteenth and twentieth centuries.
However, his is not the only important debut on this occasion: Thaïs, written for Sybil Sanderson,
is inconceivable without a great prima donna, and it will be Barbara Frittoli who debuts with us in
this impervious role. The fact that outstanding singers, at that magical moment of their careers
when they are contended for on the most important stages, choose the Teatro Regio to make their
debut is a significant act of faith towards our artistic and productive qualities. Thaïs was once a
popular opera; the fact that it is rarely programmed today is undoubtedly linked to the difficult
agreement between present tastes and a subject that filters Hellenistic decadence through the
psychologism with aesthetic leanings of the fin-de-siècle French culture. The real problem is to find
solutions for the staging that make the original spectacular aspect relevant without
misrepresenting it: Thaïs represents that late nineteenth-century predilection for great spectacle in
an exotic framework, linked to an idea of “marvellous” that today finds its equivalent only in
cinema, and demands spectacular invention coherent with contemporary taste. For this reason, the
new staging has been entrusted to Stefano Poda: the brilliant stage director from Trento – still
young, but already established on the international scene – is responsible for every aspect (sets,
costumes, lighting, choreography) of the productions that he stages. In his realisations, the
visionary style, declaredly “spectacular”, is, on the other hand, always at the service of the
interpretive depth reflected in the many levels of his staging.
With The Tales of Hoffmann, we propose – after 35 years from the last production in Torino
– one of the most atypical titles of French opera, in which Offenbach placed his mastery as a
composer of operettas at the service of a subject whose roots can be found in demoniacal Gothic
romanticism. But the “Mozart of the boulevards” was unable to enjoy the success of this work, to
which he dedicated himself with the hope of being recognised as a “serious” opera composer
rather than the creator of frivolous musical entertainment, since he died with the work unfinished.
The Tales of Hoffmann, which was completed by Ernest Guiraud and had numerous alternative
versions realised by successive editors, is not performed frequently because it requires, among
other things, an outstanding prima donna able to cope with all the roles of Hoffmann’s lovers, or
else the simultaneous presence of different first-class singers, one for each character. At the Teatro
Regio, Roberto Aronia/Hoffmann will be partnered with Désirée Rancatore, Raffaella Angeletti
and Monica Bacelli, besides – in the roles of the Muse and Nicklause – the alluring Georgian
mezzo soprano Nino Surguladze, an up-and-coming singer on the international scene. The new
staging is entrusted to specialists Emmanuel Villaume – who returns to the Regio after having
directed our recent production of Ariane et Barbe-Bleue - and Nicolas Joël, the next general manager
of the Opéra de Paris, well-known to audiences in Torino for his direction of Hamlet in 2001.
In March we will present The Italian Girl in Algiers – an opera especially loved by our
public – tied to the city by one of the events that anticipated the Rossini Renaissance: the
production of this opera conducted by Vittorio Gui in 1925. Richard Strauss, after attending a
performance, stated that he was “madly enthusiastic” about Rossini’s opera and the interpretation
by Conchita Supervia. A famous opera for mezzo sopranos, the role of Isabella will be sung by a
great artist facing our audiences for the first time: Vivica Genaux, born in Alaska, but particularly
at ease in the Rossini opera ambience. With her, Antonino Siragusa and Roberto de Candia, and
returning to the podium, Bruno Campanella, undisputed maestro of the bell canto repertoire,
connected to the Regio by a long tradition.
Another cast of great interest will enhance the revival of one of our most successful
shows of the recent past: Don Pasquale by Donizetti will be re-proposed in April in the famous
staging by Ugo Gregoretti and Eugenio Guglielminetti. On stage the protagonists will be given
voice by Serena Gamberoni and Francesco Meli, applauded by our audiences last year in The Elixir
of Love, who return as one of the most requested young couples of the international opera scene.
Also in this opera there will be an important debut: Roberto Scandiuzzi, one of the greatest basses
of our time, will tackle the title role for the first time and enlarge his interpretive range, putting
himself to the test, after many dramatic parts, in repertoire which is unusual for him. On the
podium will be the twenty-nine-year-old Michele Mariotti. The protagonist of a dazzling career
start, the young maestro, who conducted The Barber of Seville in Racconigi in 2007, is one of the
most promising conductors of the new generation: nominated Principal Conductor of the Teatro
Comunale of Bologna, he returns to the Regio with an already well-established reputation as an
interpreter of romantic Italian repertoire.
From the sunny climate of two comedies in music, the next appointment brings us to the
morbid atmosphere of a drama by Pushkin. For The Queen of Spades – Tchaikovsky’s operatic
masterpiece, with Eugene Onegin – the Regio stage will reunite an extraordinary trio of female
voices. The glorious Anja Silja will be partnered by Svetla Vassileva (recent winner of the Abbiati
Prize for her interpretation of Rusalka) and Julia Gertseva, two of the most acclaimed singers of
recent seasons. The Queen of Spades, an opera of great compactness, close in inspiration to the world
of Tchaikovsky’s great symphonies, is the second opera of the season conducted by Gianandrea
Noseda, an expert in Russian repertoire. Noseda will be working for the first time with Dmitri
Cherniakov, and from their collaboration is expected an illuminating interpretation of this opera
dominated by the theme of passion: the young stage director is in fact particularly esteemed for his
ability to investigate the essence of the drama in a non-didactic manner. His work of delving into
the motivations of the characters will be reflected in the purely visual aspects of the show. Also in
this case, it was decided to entrust the new production to a stage director able to conceive the
opera in its totality, being responsible for sets and costumes.
In June, with Ace, Galatea e Polifemo, we propose a digression into repertoire which is
unusual for the Regio. The performance of this dramatic cantata, composed by Handel when he
was twenty-three, will be entrusted to a specialised group, the Cappella Barocca della Pietà de’
Turchini, conducted by Antonio Florio. The new staging is by Davide Livermore, whom our
audiences remember for his stage direction of the recent The Abduction from the Seraglio and for a
memorable staging of Billy Budd. The appointment will find an ideal setting in the intimate
environment of Teatro Carignano.
The 2008/2009 Season will conclude with another Italian opera that looks back to French
opera. Adriana Lecouvreur, the celebrated actress admired by Voltaire, was the protagonist of a
play by Scribe and Legouvé from which Arturo Colautti took the libretto for Francesco Cilea.
Popular until a few years ago, Adriana Lecouvreur suffered the critical ostracism that, for the more
shallow aspects of “verismo”, struck almost all of Italian opera of the first part of the twentieth
century. However, a work of elegant sensitivity like Cilea’s should call for to a more attentive
evaluation of this period of our recent musical past, with the best works re-proposed in a suitable
interpretive guise. Our production will be entrusted to the secure baton of Renato Palumbo; on
stage Marcelo Alvarez, one of the most highly-acclaimed tenors in the world, will be partnered
with Alfonso Antoniozzi and Marianne Cornetti. But also Adriana Lecouvreur is a “prima donna”
opera. Raina Kabaivanska, the greatest Adriana of the end of the twentieth century, was the
protagonist of our last production of the opera, in 1993; from the great Bulgarian singer, the
testimony passes ideally to Micaela Carosi: an artist of great vocal means in a particularly
successful moment of her career.
In this way is concluded a season that anticipates the direction of the Teatro Regio of the
next few years: a theatre on the rise, in harmony with its public. A public of great maturity, to
which important titles beyond the bounds of the great repertoire are proposed. An attentive and
lively public, not a passive receiver of our choices, but an essential part in the creativity of “its”
theatre: its reactions to stimuli, and why not, to the provocations of our programming proposals
are the touchstone of our strength, directing us in our choices for the new seasons. We are aware
that the job of divulging a patrimony of art from centuries past is unavoidable. Still, we do not
intend to limit ourselves to preserving it: we want to rediscover its original vitality, presenting it in
the most stimulating way: musical realisations enhanced by talented artists on the rise, stagings
appropriate to an idea of opera as a multi-dimensional show, capable of putting the public in
touch with masterpieces of music theatre, communicating a message that continues to be relevant
to new generations of listeners.
Gianandrea Noseda
Music Director
Walter Vergnano
General Manager
L’attenzione e la curiosità rivolta agli avvenimenti che animano la vita culturale e artistica
fanno di Radio3 un punto di riferimento per chiunque ami seguire i principali eventi
musicali non solo nel nostro Paese ma nel mondo intero
Per questo motivo Radio3 annuncia con particolare soddisfazione il nuovo accordo con il
Teatro Regio di Torino grazie al quale pressoché tutte le opere della prossima stagione
troveranno la loro collocazione, in diretta o in differita, nella programmazione radiofonica.
Radio3 grazie alla collaborazione con il Teatro Regio di Torino rafforza la sua vocazione
musicale e rinnova il suo legame di fiducia con un pubblico sempre più numeroso e
sensibile alle proposte di qualità.
NON DARE
NULLA
PER SCONTATO.
“Tutti lo conoscono ma, nonostante ciò, non tutti sono
al corrente delle articolate e molteplici attività del Regio.”
Valorizzare l’intero panorama di attività sviluppate
dal Teatro Regio non significa solo rendere percepibile
la qualità e la quantità della sua offerta culturale ma anche
ampliare le opportunità di incontro con un pubblico
sempre più vasto e diversificato e con nuovi sponsor.
Questo è il progetto al quale ha lavorato,
a stretto contatto con la Direzione del Teatro,
l’Agenzia Phoenix Advertising di Torino con il contributo
del prof. Joseph Sassoon, semiologo di Alphabet Research.
Cosa è stato fatto:
Attraverso una serie di interviste a persone che lavorano
in Teatro e a personalità esterne a diverso titolo coinvolte
nell’attività del Teatro Regio, sono stati identificati
gli elementi di immagine distintivi e più qualificanti
del Teatro Regio, il livello di conoscenza delle sue attività
e le aspettative per il futuro.
Dopo aver analizzato l’offerta culturale complessiva
del Teatro Regio è stata disegnata una nuova architettura
della comunicazione d’offerta in cui ruolo, destinatari
e approccio di ogni singola attività si pongono
su tre distinti livelli: l’opera lirica, l’offerta musicale
e i servizi divulgativi.
Con il contributo dell’analisi semiotica, infine, si sono
individuati i valori identitari del Teatro Regio e la salienza
dei suoi segni di comunicazione.
Su tutti emergono, per immediatezza e pregnanza, la forza
simbolica del Toro, inteso come archetipo di fertilità
e protettività maschile; la forte carica evocativa
dell’opera lirica, il “cuore” per eccellenza dell’offerta
culturale del Teatro Regio; la distintività della tricromia
nero, bianco, rosso come colori “istituzionali”
del Teatro Regio e la sua modernità, ovvero la capacità
di innovare nella continuità.
Su questi elementi si è quindi sviluppato il nuovo
impianto di comunicazione e di immagine del Teatro Regio.
Nasce così il nuovo marchio, che porta in massima
evidenza il nome “Regio” e il simbolo del Toro, e anche
la nuova immagine della Stagione d’Opera 2008/2009,
il vero perno di tutta l’architettura d’offerta, rafforzata
da un titolo - “L’Opera, Il Regio.” - e da un’immagine che
racconta l’attesa per una nuova stagione di successi
all’altezza della fama di questo teatro d’opera.
L’intero impianto di comunicazione è caratterizzato
da un format grafico estremamente riconoscibile,
che servirà a coordinare tutte le comunicazioni destinate
a diffondere l’intensa attività già programmata
per i prossimi mesi.
A completare questo progetto di ottimizzazione
della comunicazione del Teatro Regio, sempre più
dinamico e vitale, giunge infine la nuova firma
che trasmette un messaggio sintetico, portatore
di più significati e perfettamente utilizzabile anche
in ambito internazionale:
Teatro Regio Torino. Opera In Crescendo.
In Crescendo, appunto, per divenire sempre più
il riferimento della cultura musicale internazionale
e per non dare nulla per scontato.
Chi è Phoenix
Phoenix Advertising S.p.A. è una realtà dinamica e qualificata
nel panorama comunicazionale.
Dalla sua sede di Corso Re Umberto, a Torino, si occupa
di immagine, comunicazione e pubblicità per marchi nazionali
ed internazionali come Chicco, Müller, DeAgostini Editore,
Pic Indolor, Giulio Einaudi Editore, Lotto Sport, Industrie Bialetti.
Advertising. Phoenix esporta alcuni dei suoi lavori in oltre 40 Paesi
e in dodici anni di attività ha raccolto più di ottanta premi.
Sue inoltre le più recenti campagne di comunicazione
per GTT-Gruppo Torinese Trasporti, la creatività
delle ultime due stagioni d’opera del Teatro Regio e la comunicazione
dell’iniziativa “Il Regio a Racconigi” realizzata nell’ambito
del circuito “Regione in Tour”.
(Per maggiori informazioni: www.phoenix-adv.it)
Cosa è stato fatto:
Attraverso una serie di interviste a persone che lavorano
in Teatro e a personalità esterne a diverso titolo coinvolte
nell’attività del Teatro Regio, sono stati identificati
gli elementi di immagine distintivi e più qualificanti
del Teatro Regio, il livello di conoscenza delle sue attività
e le aspettative per il futuro.
Dopo aver analizzato l’offerta culturale complessiva
del Teatro Regio è stata disegnata una nuova architettura
della comunicazione d’offerta in cui ruolo, destinatari
e approccio di ogni singola attività si pongono
su tre distinti livelli: l’opera lirica, l’offerta musicale
e i servizi divulgativi.
Con il contributo dell’analisi semiotica, infine, si sono
individuati i valori identitari del Teatro Regio e la salienza
dei suoi segni di comunicazione.
Su tutti emergono, per immediatezza e pregnanza, la forza
simbolica del Toro, inteso come archetipo di fertilità
e protettività maschile; la forte carica evocativa
dell’opera lirica, il “cuore” per eccellenza dell’offerta
culturale del Teatro Regio; la distintività della tricromia
nero, bianco, rosso come colori “istituzionali”
del Teatro Regio e la sua modernità, ovvero la capacità
di innovare nella continuità.
Su questi elementi si è quindi sviluppato il nuovo
impianto di comunicazione e di immagine del Teatro Regio.
Nasce così il nuovo marchio, che porta in massima
evidenza il nome “Regio” e il simbolo del Toro, e anche
la nuova immagine della Stagione d’Opera 2008/2009,
il vero perno di tutta l’architettura d’offerta, rafforzata
da un titolo - “L’Opera, Il Regio.” - e da un’immagine che
racconta l’attesa per una nuova stagione di successi
all’altezza della fama di questo teatro d’opera.
L’intero impianto di comunicazione è caratterizzato
da un format grafico estremamente riconoscibile,
che servirà a coordinare tutte le comunicazioni destinate
a diffondere l’intensa attività già programmata
per i prossimi mesi.
A completare questo progetto di ottimizzazione
della comunicazione del Teatro Regio, sempre più
dinamico e vitale, giunge infine la nuova firma
che trasmette un messaggio sintetico, portatore
di più significati e perfettamente utilizzabile anche
in ambito internazionale:
Teatro Regio Torino. Opera In Crescendo.
In Crescendo, appunto, per divenire sempre più
il riferimento della cultura musicale internazionale
e per non dare nulla per scontato.
Chi è Phoenix
Phoenix Advertising S.p.A. è una realtà dinamica e qualificata
nel panorama comunicazionale.
Dalla sua sede di Corso Re Umberto, a Torino, si occupa
di immagine, comunicazione e pubblicità per marchi nazionali
ed internazionali come Chicco, Müller, DeAgostini Editore,
Pic Indolor, Giulio Einaudi Editore, Lotto Sport, Industrie Bialetti.
Advertising. Phoenix esporta alcuni dei suoi lavori in oltre 40 Paesi
e in dodici anni di attività ha raccolto più di ottanta premi.
Sue inoltre le più recenti campagne di comunicazione
per GTT-Gruppo Torinese Trasporti, la creatività
delle ultime due stagioni d’opera del Teatro Regio e la comunicazione
dell’iniziativa “Il Regio a Racconigi” realizzata nell’ambito
del circuito “Regione in Tour”.
(Per maggiori informazioni: www.phoenix-adv.it)
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