{"id":1661,"date":"2026-02-11T08:41:49","date_gmt":"2026-02-11T08:41:49","guid":{"rendered":"https:\/\/operastreaming.com\/?page_id=1661"},"modified":"2026-02-13T08:11:46","modified_gmt":"2026-02-13T08:11:46","slug":"italy-in-algiers-reggio-emilia-2026","status":"publish","type":"page","link":"https:\/\/operastreaming.com\/en\/italy-in-algiers-reggio-emilia-2026\/","title":{"rendered":"L’Italiana in Algeri – Reggio Emilia – 2026"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”none” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”custom” custom_text_color=”#d4c0ff” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”os__hero” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_color=”#ffffff” shape_divider_position=”bottom” shape_divider_height=”50%” bg_image_animation=”none” 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The Italian in Algiers<\/h1>\n[\/vc_column_text][nectar_badge display_tag=”body” badge_style=”default” bg_color_type=”global” color=”accent-color” text_color=”#FFFFFF” padding=”large” border_radius=”0px” display=”block” text=”LIVE STREAMING FEB. 22, 2026 | 3:30 P.M.” margin_bottom=”32″][\/vc_column_inner][\/vc_row_inner][tabbed_section style=”material” tab_change_animation=”fade” alignment=”left” spacing=”default” tab_color=”Accent-Color” vs_content_animation=”fade” vs_link_animation=”opacity” vs_navigation_alignment=”left” vs_navigation_width_2=”25%” vs_navigation_func=”default” vs_navigation_width=”regular” vs_navigation_spacing=”15px” vs_navigation_mobile_display=”visible” vs_tab_spacing=”5%” full_width_line=”true” icon_size=”32″][tab icon_family=”none” title=”Credits” id=”1770894042954-0″ tab_id=”1770894042955-3″][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]L’ITALIANA IN ALGERI
\n<\/strong>Music by<\/em> Gioachino Rossini<\/strong><\/p>\n

Playful drama
\nLibretto by Angelo Anelli<\/b><\/p>\n

Mustaf\u00e0<\/em> Giorgio Caoduro <\/strong>
\nElvira<\/em> Gloria Tronel <\/strong>
\nZulma<\/em> Barbara Skora <\/strong>
\nHaly<\/em> Giuseppe De Luca <\/strong>
\nLindoro<\/em> Ruzil Gatin <\/strong>
\nIsabella<\/em> Laura Verrecchia <\/strong>
\nTaddeo<\/em> Marco Filippo Romano<\/strong>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]Conductor <\/em>Alessandro Cadario<\/strong>
\nDirector Fabio Cherstich <\/strong>
\nSets Nicolas Bovey
\nCostumes <\/em>Arthur Arbesser
\n<\/strong>Lights <\/em>Alessandro Pasqualini<\/strong><\/p>\n

ORCHESTRA OF EMILIA-ROMAGNA ARTURO TOSCANINI<\/strong><\/p>\n

CLAUDIO MERULO CHOIR OF REGGIO EMILIA
\n<\/strong>Choirmaster<\/em> Martino Faggiani<\/strong><\/p>\n

NEW PRODUCTION
\nCoproduction Fondazione I Teatri di Reggio Emilia, Fondazione Teatri di Piacenza, Fondazione Teatro Comunale di Modena, Fondazione Ravenna Manifestazioni\/Teatro Alighieri, Fondazione Haydn di Trento e Bolzano, Teatri di Operalombardia<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/tab][tab icon_family=”none” title=”Info” id=”1770894043062-1″ tab_id=”1770894043063-7″][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]This staging of L’Italiana in Algeri stems from the desire to physically, theatrically restore the irrepressible energy of Rossini’s music. A comic, overwhelming, explosive energy, composed of accumulations, bursts, short circuits, rhythmic traps and sudden detonations. It is a stage machine built to spin out of control, where the grotesque is not an aesthetic but a lens: the characters are overtly stereotyped, exaggerated, deformed masks.<\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/tab][tab icon_family=”none” title=”Description” id=”1770894043109-10″ tab_id=”1770894043110-0″][vc_column_text css=”” text_direction=”default”]The setting is contemporary but unreal: a villa under construction – or perhaps never completed – in an indefinite, sun-drenched, timeless place. A space that contains everything but ensures nothing. Stolen or forgotten objects coexist with construction materials: sofas, deck chairs, office chairs turned into thrones, wheelbarrows repurposed as means of transport or bins elevated to ceremonial pedestals. The characters inhabit it naturally, as if it had always been this way: it is the distance between the chaos we see and the ease with which they traverse it that generates the comic.
\nFabio Cherstich, director<\/em><\/p>\n

On the musical level, a structural debt to Mozart’s lesson emerges: not so much in a more recognizable stylistic continuity, but in a deeper “theatrical mechanics” in the connotation of characters through music. An emblematic example is the beginning of Act I: Zulma, in order to persuade Elvira to accept Mustaf\u00e0’s wishes, first imitates his figuration and then leads her on her own melody, in a dynamic of persuasion reminiscent of the relationship between Susanna and Figaro in the first duet of The Marriage of Figaro. These foundations provide the interpretive starting point, but without exhausting the Pesaro composer’s identity, which is distinguished by distinctive and original elements.
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