Simon Boccanegra Placido Domingo (19, 23, 27) / Gabriele Viviani (20, 22)
Maria Boccanegra (Amelia) Anastasia Bartoli (19, 23, 27) / Serena Gamberoni (20, 22)
Jacopo Fiesco Marko Mimica (19, 23, 27) / Rafal Siwek (20, 22)
Gabriele Adorno Arturo Chacón Cruz (19, 23) / Azer Zada (20, 22, 27)
Paolo Albiani Marco Caria
Pietro Luciano Roberti

Mimì Angela Gheorghiu (4, 7, 10) / Desirée Rancatore (5, 9)
Rodolfo Stefan Pop (4, 7, 10) / Giovanni Sala (5, 9)
Musetta Jessica Nuccio (4, 7, 10) / Federica Guida (5, 9)
Marcello Vittorio Prato (4, 7, 10) / Francesco Vultaggio (5, 9)
Schaunard Tommaso Barea (4, 7, 10) / Italo Proferisce (5, 9)
Colline George Andguladze (4, 7, 10) / Andrea Comelli (5, 9)
Benoît / Alcindoro Luciano Roberti
Parpignol Pietro Luppina (4, 7, 10) / Domenico Ghegghi (5, 9)
Sergente dei doganieri Antonio Corbisiero (4, 7, 10) / Cosimo Diano (5, 9)
Un doganiere Antonio Barbagallo (4, 7, 10) / Federico Cucinotta (5, 9)
Un venditore di prugne Francesco Polizzi (4, 7, 10) / Carlo Morgante (5, 9)

There is a tragic Italian story that is turning thirty these days, but which originates in an indefinite time.
In an incredible sequence of anomalies, judicial follies, unexpiated sins, omissions, and unprecedented “unspoken words”. It is the story of a roar, or rather two. Of a pyre of bodies and hopes, of criminal promises and institutional betrayals. It is the story of the Capaci and Via D’Amelio massacres and of a criminal plan that matures behind the most granite wall of protection, that of organized confusion: because in Italy there is no safer refuge than the kingdom of disorder. It is the story of the greatest diversion of this country. Of infidels of the State, creators and promoters of a reality that has swallowed up every form of justice, of truth, even of verisimilitude.
It is the story of what remains. Ashes.

After The Stolen Words and The Traitors, a new investigative work by Gery Palazzotto closes the circle on the mysteries of the 1992 massacres in which Giovanni Falcone, Francesca Morvillo, Paolo Borsellino and the escort agents Vito Schifani, Rocco Dicillo, Antonio Montinaro, Agostino Catalano, Emanuela Loi, Vincenzo Li Muli, Walter Eddie Cosina and Claudio Traina died.

With music by Marco Betta, Fabio Lannino and Diego Spitaleri, narration by Gigi Borruso, choreography by Alessandro Cascioli and Yuriko Nishihara, artwork by Francesco De Grandi, “Cenere” is a global work that uses new languages ​​to address old collective wounds. A sort of magnifying glass that analyses the fundamental steps that led to that indecent criminal masterpiece that is – by the judges’ definition – the most sensational cover-up in the Italian Republic.

Coro e Percussioni del Teatro Massimo

Coreografia di Marcello Carini
Musiche Philip Glass, Max Richter, André Dziezuk

Coreografia di Alessandro Cascioli
Musiche Gerardo Matos Rodríguez, Silencio Tango Orchestra, Zona Tango

Coreografia di Amedeo Amodio
Musica Georges Bizet
Étoiles ospiti Eleonora Abbagnato e Michele Satriano

Coreografia di Gaetano La Mantia
Musiche Alessandro Russo, Fabio Hager Sexteto, Leroy Anderson, Astor Piazzolla

Coreografia di Jean-Sébastien Colau e Vincenzo Veneruso
Musica Stefano Conti

September 5 2023

2 aprile 2023

Three hours and 10 minutes with two 15 minutes intermissions

A chorus of nymphs and shepherds sings a mourning hymn around the tomb of Eurydice (“Ah, se intorno a quest’urna funesta”). Orpheus asks them to leave him alone, and express his grief for the death of his wife, his rage against the cruel gods, and his determination to bring Eurydice back to life (“Chiamo il mio ben così”). Cupid appears and tells Orpheus that Jove allows him to descend to the underworld to try to reclaim his wife. Orpheus must appease the Furies with his music and bring Eurydice back to the upper world without never looking at her or explaining his behaviour, otherwise he will lose her for ever (“Gli sguardi trattieni”). Orpheus heads to Hades with his lyre as only weapon.

The gates of Hades are guarded by Furies and demons, who threatens Orpheus with their dance (“Chi mai dell’Erebo fra le caligini”). Orpheus plays his lyre and sings his despair (“Deh, placatevi con me”). The Furies at first refuse to let him move on into the Elysian Fields. Then they are gradually touched by his laments and moved by his singing, and they let him pass the entrance of the underworld. The scene is now in the Elysian Fields. Orpheus arrives, seeking his beloved wife (“Che puro ciel”). The Blessed Spirits restore Eurydice, veiled, to Orpheus, and he hurries to lead her away, without looking at her.

Orpheus and Eurydice are on their road to the upper world. Eurydice, who doesn’t know of the gods injunction, is suspicious, and asks him to explain his behaviour or at least to look at her (“Vieni, appaga il tuo consorte”). Orpheus tries to keep his face turned away and to bring her to the upper world, but when she faints, he is forced to to infringe the gods’ will. As soon as their eyes meet, Eurydice dies again with a last farewell. Orpheus is desperate and about to kill himself (“Che farò senza Euridice”). Cupid appears and announces that Orpheus’ love and faith have moved again the gods. Eurydice is restored to life, and they will enjoy a new life of pleasures and love on earth (“Divo Amor, son tue pene”). Nymphs and shepherds celebrate with dances the power of Cupid (“Trionfi Amore”).

Booking opens on November 7 2023

Price range: 20 to 145 euro
[check ticket fares & info]

Info for subscribers to the 2023-24 Season at the 2023-2024 Season Tickets Page