Two noble faces of music without which La Fenice wouldn’t exist. This is the part of the site dedicated to them, where you may read more about their history
The history of the Orchestra & Chorus is connected with the history of the theatre, an important production centre that during the nineteenth century performed several ‘premières’ of fundamental operas for the history of Melodrama.
Claudio Marino Moretti
La Fenice Choir is a permanent body of singers selected by international audition. Engaged in the operatic performances both at home and abroad, the chorus has a growing involvement with sacred, symphonic and chamber repertoire. It holds an important position in the concert work of La Fenice in Italy and elsewhere, with the orchestra of La Fenice and other orchestras. Chorus-masters, since the war, have included Sante Zanon, Corrado Mirandola, Ferruccio Lozer, Vittorio Sicuri, Guillaume Tourniaire, Piero Monti, Emanuela Di Pietro and at once Claudio Marino Moretti.
The Choir has collaborated with distinguished conductors, including Abbado, Ferro, Fournier, Gavazzeni, Gelmetti, Horvat, Inbal, Kitajenko, Maazel, Marriner, Muti, Oren, Prêtre, Santi, Sinopoli, Tate, Temirkanov, Thielemann. Its repertoire ranges from the sixteenth century to the present. Among its recordings are Il barbiere di Siviglia with Claudio Abbado and Massenet’s Thaïs with Marcello Viotti. Highlights of recent seasons include Bach’s Christmas Oratorio with Riccardo Chailly, Britten’s War Requiem with Bruno Bartoletti, Maderna’s Requiem and Ambrosini’s Il killer di parole with Andrea Molino, and Nono’s Intolleranza with Lothar Zagrosek.
The history of La Fenice Orchestra is associated with that of the theatre, which held such an important place in opera in the nineteenth century, with premières including Semiramide, I Capuleti e i Montecchi, Rigoletto, and La traviata. The second half of the century brought an internationalisation of repertory, broadened also by symphony concerts and collaboration with leading soloists (among them Enrico Mainardi, Mstislav Rostropovich, Edwin Fischer, Aldo Ferraresi, Arthur Rubinstein). In the course of the nineteenth and twentieth centuries the orchestra was directed by leading conductors and composers, including Lorenzo Perosi, Giuseppe Martucci, Antonio Guarnieri, Richard Strauss, Richard Wagner, Pietro Mascagni, Giorgio Ghedini, Ildebrando Pizzetti, Goffredo Petrassi, Alfredo Casella, Gian Francesco Malipiero, Willy Ferrero, Leopold Stokowski, Fritz Reiner, Vittorio Gui, Tullio Serafin, Giuseppe Del Campo, Nino Sanzogno, Ermanno Wolf-Ferrari, Carlo Zecchi, John Barbirolli, Herbert Albert, Bruno Walter, Franco Ferrara, Guido Cantelli, Thomas Schippers, and Dimitri Mitropoulos. In 1938 La Fenice became an autonomous entity and the orchestra was developed further with active participation in the Festival of Contemporary Music of the Biennale. In the 1940s and 1950s under the guidance of Toscanini, Scherchen, Bernstein, and Celibidache (with a complete cycle of Beethoven symphonies), Konwitschny (with Wagner’s Ring cycle), and Stravinsky, the orchestra presented a series of historic concerts. In the following years the most distinguished conductors worked with the orchestra, among them Bruno Maderna, Vladimir Delman, Herbert von Karajan, Karl Böhm, Claudio Abbado, Riccardo Muti, Georges Prêtre, Eliahu Inbal, Seiji Ozawa, and Lorin Maazel. Contemporary operas in the 1950s included Britten’s The Turn of the Screw and Stravinsky’s The Rake’s Progress, and in more recent years the first Italian production of Aus Deutschland and the world premières of Mauricio Kagel’s Entführung im Konzertsaal, Adriano Guarnieri’s Medea, Luca Mosca’s Signor Goldoni, and Claudio Ambrosini’s Il killer di parole. In concerts the orchestra has undertaken cycles, including those dedicated to Berg and to Mahler, under the direction of conductors such as Sinopoli, Kakhidze, Masur, Barshai, Tate, Ahronovitch, Kitajenko, Inbal, and Temirkanov. The orchestra tours regularly in Italy and abroad. Principal conductors have included Eliahu Inbal, Vjekoslav Sutej, Isaac Karabtchevsky and Marcello Viotti; and among guest conductors Jeffrey Tate. Most significant concerts: Bach’s Christmas Oratorio with Riccardo Chailly, Britten’s War Requiem with Bruno Bartoletti, Maderna’s Requiem with Andrea Molino.
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