Many people are made shy by the majesty
 of the Opera, which is considered too elitist, exclusive and difficult to understand. Even communication concerning theatrical events devoted to the opera foster this vision, thus eliminating in advance a great part of possible spectators.

Radio, TV and press seem to have forgotten the artistic value of the opera to better care for pop music. What we all often forget is that opera has been, first of all, a music loved by the people who sang it in the streets. In the Nineteenth Century the arias by Giuseppe Verdi were able to excite the hearts and relate stories of injustices, abuses, loves and wars.

On the contrary today the first approach to opera occurs in the adulthood, when there is the need to see more sophisticated shows and cultural events and more attention is paid to committed performances. For this reason, mainly the young and simplest people remain far from an important part of our culture miss- ing the strength of its positive message made of ideals, hopes and struggle for life.

Let’s think of teenagers who have to go to a performance conceived for opera lovers: they would probably live this experience only as the opportunity to skip school and maybe already at the end of the first act they would miss their desks.

Let’s also think of the image we all have of opera: enormous sopranos towering over the stage with their over-magnificent costumes making them quite disquieting. Directors who start virtuosities only aimed at satisfying their ego and who often take for granted that their staging consisting of a sad blue background is enough to narrate the extraordinary events of Turandot. Art directors who cherish the fond hope to bring new public to the theater by performing the umpteenth boring show smelling of moth balls.

A new register is needed to bring new spectators to the opera, with the courage of abandoning old schemes to give space to a new language able to generate the desire to hurry and buy the show tickets into the public. This language is Fantasy, that has been assuring a great success of public in all arts, from literature to the movies for many years.
The Fantasy genre talks of magic, brave knights and damsels in danger as well as horrible mythological creatures living in an imaginary environment recalling the Middle Ages. The main theme of this genre is the endless struggle between good and bad, on which the whole narrative plot is built.

The Fantasy Opera is then born with David Pietroni, a sub genre of the Fantasy and a great project of theatrical stagings to involve the young as well as people of every age who have remained far from opera until now.

We often hear people talking about “project for the young to the opera” or also about “new au- dience to attract”. Words which are never ac- companied by a different idea on how to bring new audience to the opera. You cannot enter the schools with music cassettes and try to be understood by the iPod generations, you can- not communicate to the rock people with a fur and hair lacquer.

Thanks to the Fantasy Opera and its direction and staging language rich in emotions and special effects we can be sure that the desire to approach opera will spontaneously be felt by a wide public. Mainly, we can be sure and proud of the fact that the emotions felt will re- main indelible in their soul and these people will grow the awareness of the value of Music and the sacrifice great musicians of the past have done to give us unique masterpieces.Lorem ipsum dolor sit amet, consectetur adipisicing elit. Autem dolore, alias, numquam enim ab voluptate id quam harum ducimus cupiditate similique quisquam et deserunt, recusandae.



by David Guido Pietroni

“Il Trovatore” is an opera set in the Middle Ages. From the point of view of direction, almost everything has been shown about this historical period. Moreover, the Middle Ages is not fit to particularly spectacular stage adaptations. After a deep study of the personality and dynamics of the characters and environments of “Il Trovatore” David Pietroni has imagined a development to- wards the Fantasy genre for this opera, combining the traditional vision of the opera with a more immediate and contemporary language.

The Fantasy genre talks of magic, brave knights and damsels in danger as well as horrible mythological creatures living in an imaginary environment recalling the Middle Ages. The main theme of this genre is the endless struggle between good and bad, on which the whole plot is built. Subjects which are found also in “Il Trovatore”, enough to think of the duel between Manrico and the Count di Luna.

Generally, the protagonist of the Fantasy genre is an apparently simple character (a peasant, a shepherd or a student) who realizes to be the only one able to save his/her people because he/ she possesses special characteristics or is descended from legendary characters.

This is also the case of “Il Trovatore” where Man- rico, a simple street boy, becomes a hero experiencing strongly exotic, sulphurous and sensual adventures. The boy struggle against magic and supernatural powers to save his princess Leonora.

These direction notes show that “Il Trovatore” could be considered the first and sole fantasy opera in the history of the opera.

To obtain the best on the stage by the interpreters, a complete storyboard of the opera has been prepared. More than 600 tables illustrated in details allow for an immediate study of the direction, and not only: thanks to the storyboard, the theaters willing to per-form Trovatore in their towns will have the possibility to see the whole direction of the opera before making any decisions.


Thanks to advanced 3D effects, “Il Trovatore” will succeed in immerse the spectator in a spectacular fantasy world. Giant high definition virtual scenes will allow to change in real time atmosphere, climate and animations perfectly meeting the stage and orchestration needs. The audience will live, together with the artists on the stage, passionate acrobatic duels among the most spectacular ones ever performed live as well as the sudden animation of fantastic creatures and 3D dynamic settings.


Environment movements
Fire torches, with their natural flickering, change the flame intensity in the dark. The reflection from the fire light on the walls and the other objects will be intermittent to make the effect even more realistic. Hyper- realistic dragons flying towards the horizon ridden by fearless warriors create an unexpected and unique effect to the spectators’ eyes.

Atmospheric movements
Each landscape will show palms and plants with leaves fluctuating with the wind. At night the full moon surrounded by the intermittent twinkling of stars is crossed by slowly drifting along clouds.

Whole armies made of thousands of men and fierce animals ridden by warriors en- gaged in a pitched battle will move on the stage together with the real protagonists of the opera. Special effects which will give a strong sense of reality and vigor to the land- scape, giving endless emotions to the audi- ence.

Costumes Designer

VIVIENNE WESTWOOD - Costumes Designer

In the new theatrical production of “Il Trovatore” the collaboration between David Guido Pietroni and the iconic British fashion designer Vivienne Westwood goes on. Great fashion stylist and icon of the seven- ties and the eighties, she invented the punk style which sometimes comes out in his work still today. Over the years, Vivienne Westwood has been conferred several hon- ors such as the title of Officer of the Order of the British Empire, Dame Commander of the order of the British Empire and she was awarded the prize British Fashion Stylist of the Year twice. In London, her creations have been the subject of a cult show at the Victoria and Albert Museum. In September 2006 a retrospective exhibition of her shoes was held at the Shoe Museum in the Castle of Vigevano. In 2007 the cities of Milan, To- kyo, L. A. and London devoted an important solo exhibition to Vivienne Westwood’s his- torical collections.