{"id":1492,"date":"2024-06-15T01:05:31","date_gmt":"2024-06-14T23:05:31","guid":{"rendered":"http:\/\/localhost\/emmaalessi\/press-reviews\/"},"modified":"2026-04-26T14:22:16","modified_gmt":"2026-04-26T12:22:16","slug":"reviews","status":"publish","type":"page","link":"https:\/\/emmaalessiinnocenti.com\/en\/reviews\/","title":{"rendered":"Reviews"},"content":{"rendered":"\t\t
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Show Reviews<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Vicenza: Berenice vendicativa, the joy of rediscovery<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abIt is rare for a modern premiere to coincide with a genuine historiographical revelation. This happened at the Teatro Olimpico in Vicenza last night, when Giovanni Domenico Freschi\u2019s Berenice vendicativa<\/em> \u2014 an opera composed in 1680 for the phantasmagorical “telescope” theatre of Villa Contarini in Piazzola sul Brenta and never performed since \u2014 came to life in a production capable of transforming philological constraints into organic, far-reaching aesthetic choices. […] [The] voices intertwine with contrapuntal logic rather than mere addition, rhythmically inventive recitatives that do not forsake the rhetorical figures of Monteverdi\u2019s lineage.
The lyrical moments emerge all the more effectively for having been earned: the arias of the eponymous heroine, entrusted to Emma Alessi Innocenti<\/strong> with a supple vocal line and a stage presence already mature, produce that chiaroscuro effect that only a self-aware musical theatre knows how to construct.\u00bb <\/p>

_ Alessandro Cammarano, Le Salon Musical, 17.04.26<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Berenice Vendicativa
Erle wins the challenge of bringing
the little-known 17th century back to life<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abFreschi\u2019s opera, performed just once and subsequently forgotten, triumphs at the Olimpico with L\u2019arte dell\u2019arco and a cast of young singers […] The music is thoroughly enjoyable, varied, lively and captivating. […] The voices are noteworthy, all belonging to lively and talented young singers: the mezzo-soprano Emma Alessi Innocenti<\/strong> in the title role, Berenice; another standout mezzo-soprano, Maria Giuditta Guglielmi, Farnace, and then the soprano Minyoung Park as Celinda, the mezzo-soprano Iryna Shteiner as Osmano, the two sopranos Claudia Floris as Alceste and Gloria Ferro as Nicomede, not forgetting the mezzo-soprano Luisa Torresan as Creonte. For all of them, it is a baroque triumph of virtuosity, agility and the most daring vocal leaps. […] . A resounding success and much applause […].\u00bb <\/p>

_ Eva Purelli, Il Giornale di Vicenza, 19.04.26<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Vicenza: Berenice vendicativa, the joy of rediscovery<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abIt is rare for a modern premiere to coincide with a genuine historiographical revelation. This happened at the Teatro Olimpico in Vicenza last night, when Giovanni Domenico Freschi\u2019s Berenice vendicativa<\/em> \u2014 an opera composed in 1680 for the phantasmagorical “telescope” theatre of Villa Contarini in Piazzola sul Brenta and never performed since \u2014 came to life in a production capable of transforming philological constraints into organic, far-reaching aesthetic choices. […] [The] voices intertwine with contrapuntal logic rather than mere addition, rhythmically inventive recitatives that do not forsake the rhetorical figures of Monteverdi\u2019s lineage.
The lyrical moments emerge all the more effectively for having been earned: the arias of the eponymous heroine, entrusted to Emma Alessi Innocenti<\/strong> with a supple vocal line and a stage presence already mature, produce that chiaroscuro effect that only a self-aware musical theatre knows how to construct.\u00bb <\/p>

_ Alessandro Cammarano, Le Salon Musical, 17.04.26<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Berenice Vendicativa
Erle wins the challenge of bringing
the little-known 17th century back to life<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abFreschi\u2019s opera, performed just once and subsequently forgotten, triumphs at the Olimpico with L\u2019arte dell\u2019arco and a cast of young singers […] The music is thoroughly enjoyable, varied, lively and captivating. […] The voices are noteworthy, all belonging to lively and talented young singers: the mezzo-soprano Emma Alessi Innocenti <\/strong>in the title role, Berenice; another standout mezzo-soprano, Maria Giuditta Guglielmi, Farnace, and then the soprano Minyoung Park as Celinda, the mezzo-soprano Iryna Shteiner as Osmano, the two sopranos Claudia Floris as Alceste and Gloria Ferro as Nicomede, not forgetting the mezzo-soprano Luisa Torresan as Creonte. For all of them, it is a baroque triumph of virtuosity, agility and the most daring vocal leaps. […] . A resounding success and much applause […].\u00bb <\/p>

_ Eva Purelli, Il Giornale di Vicenza, 19.04.26<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The Sperimentale of Spoleto 2025 closed with Mozart and inspiring and engaging “Le Nozze di Figaro”<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abTo realize an opera as complex as Le nozze di Figaro<\/em> requires the commitment of numerous artists who have a wide-ranging vision in the theatrical as well as in the musical and vocal fields. At the Sperimentale in Spoleto, a completely convincing and homogeneous realization was presented that highlighted and enhanced all its peculiarities […]. We conclude by reporting on the singers who are the beating heart of the Sperimentale who all showed good vocal and interpretative qualities. […] Emma Alessi Innocenti, the mezzo-soprano A special mention goes to mezzo-soprano Emma Alessi Innocenti, <\/strong> who won first place in the 2024 competition. She has a beautifully ‘burnished’<\/em> voice which has continued to mature on the various occasions we have heard her perform. Not only in the Eurilla<\/em> of Sarro’s Intermezzo performed last year but, especially, in the evidence provided this year, Lei 2<\/em> in Agostini’s terrible (for content) ‘Nanof l’altro’ <\/em>and in that of Splendore<\/em> in Gino Negri’s ‘Il t\u00e8 delle tre’<\/em>. Here, in the much more difficult part of Cherubino<\/em> she gave an entirely convincing proof throughout the performance reaching a certain excellence in the arietta ‘Voi, che sapete che cosa \u00e8 amor’,<\/em> being measured and convincing in the emissions. […] A large audience attended the performance at the Teatro Nuovo, which was at its capacity limit. The audience applauded all the performers during and at the end of the evening, with numerous calls to the proscenium, testifying to an overall polished and engaging performance.\u00bb <\/p>

_ Claudio Listanti, aboutartonline.com, 14.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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NOZZE DI FIGARO (LE) \u2013 Henning Brockhaus direction<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe first performance of Mozart’s opera was a real celebration, with a sold-out theatre and a cast of young and enterprising artists. […] The young performers demonstrated their vocal qualities and showed their personalities in their respective roles. Of course, the pair of Sara Di Santo as Susanna and Nicol\u00f2 Lauteri as Figaro stood out above all others, as did Emma Alessi Innocenti<\/strong>‘s playful and mischievous Cherubino; […]\u00bb <\/p>

_ Federica Fanizza, Sipario.it, 16.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Le Nozze di Figaro at the Lirico, a resounding success with the public |<\/strong> Mozart, Brockhaus and flying chairs<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00ab[…] We, as non-militant Spoleto residents, are satisfied to see the Teatro Nuovo almost filled to the gallery for the occasion. […] The singers are delightful and, from an acting point of view, willing to the point of biblical human sacrifice. They command the stage wonderfully and perform the various vocal challenges in the famous arias with almost virtuoso boldness. […] Cherubino, played by Emma Alessi Innocenti<\/strong>, was excellent and completely in character, as one would expect of a young pageboy overwhelmed by hormones.\u00bb <\/p>

_ Carlo Vantaggioli. Tuttoggi, 13.09.25 <\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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NOZZE DI FIGARO (LE) \u2013 Henning Brockhaus direction<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe first performance of Mozart’s opera was a real celebration, with a sold-out theatre and a cast of young and enterprising artists. […] The young performers demonstrated their vocal qualities and showed their personalities in their respective roles. Of course, the pair of Sara Di Santo as Susanna and Nicol\u00f2 Lauteri as Figaro stood out above all others, as did Emma Alessi Innocenti<\/strong>‘s playful and mischievous Cherubino; […]\u00bb <\/p>

_ Federica Fanizza, Sipario.it, 16.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Le Nozze di Figaro at the Lirico, a resounding success with the public |<\/strong> Mozart, Brockhaus and flying chairs<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00ab[…] We, as non-militant Spoleto residents, are satisfied to see the Teatro Nuovo almost filled to the gallery for the occasion. […] The singers are delightful and, from an acting point of view, willing to the point of biblical human sacrifice. They command the stage wonderfully and perform the various vocal challenges in the famous arias with almost virtuoso boldness. […] Cherubino, played by Emma Alessi Innocenti<\/strong>, was excellent and completely in character, as one would expect of a young pageboy overwhelmed by hormones.\u00bb <\/p>

_ Carlo Vantaggioli. Tuttoggi, 13.09.25 <\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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79th Spoleto Opera Season. Figaro, Brockhaus and the commedia dell’arte <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abLe nozze di Figaro<\/em> sono lunghe e impegnative, vocalmente e scenicamente per le cinque parti principali dei protagonisti: Il Conte di Almaviva, La Contessa di Almaviva, Susanna, Figaro e Cherubino. I giovani cantanti che le hanno affrontate, nella recita di venerd\u00ec 12 che abbiamo ascoltato, hanno mostrato determinazione e passione, qualit\u00e0 che non sono mancate anche alle parti minori. […] Emma Alessi Innocenti<\/strong>, mezzosoprano vincitrice del concorso del 2024, ha una voce limpida e vellutata che usa con sicurezza appropriata e con cui ha dato vita a un effervescente e incantevole Cherubino, trascinante e impertinente ma anche timido e ancora goffo negli approcci amorosi dell\u2019aria \u201cVoi che sapete<\/em>\u201d.\u00bb <\/p>

_ Daniela Puggioni, gothicnetwork.org, 15.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Lirico Sperimentale at the Morlacchi Theatre in Perugia: start of the regional tour of Nozze di Figaro<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abWe said three hours, but in reality they flew by […] with the actors moving around really effectively. We enjoyed watching the young people give their all, with some exceeding expectations. Cherubino was played by Emma Alessi Innocenti<\/strong>, who had a very credible vocal range.\u00bb <\/p>

_ Stefano Ragni, QuotidianodellUmbria.it, 23.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto: Le Nozze di Figaro shines with modernity<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abthe entire company, indeed the entire cast […] made Mozart a happy fellow citizen of Spoleto.\u00bb<\/p>

_ Marco Ranaldi, Le Salon Musical, 12.09.25 e 13.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The jellyfish of Eros
Perugia: at the Morlacchi Theatre, The Marriage of Figaro by theTeatro Sperimentale in Spoleto, conducted by Angius and directed by Brockhaus
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\u00abFollowing five performances at the Teatro Nuovo in Spoleto, the regional tour opened on 18 September in the Umbrian capital with one of the three opera companies comprising winners of the Sperimentale competition. The protagonists, the Almaviva couple, were played by Giorgia Costantino and Andrea Ariano, who played the antagonists of the representatives of the ‘fourth estate’, Figaro and Susanna, played by Nicol\u00f2 Lauteri and Eleonora Benetti respectively. The audience particularly enjoyed Emma Alessi Innocenti<\/strong>‘s Cherubino, who was mirroring the future bride, Ariadna Vilardaga’s Barbarina. […]\u00bb <\/p>

_ Stefano Ragni, L’opera, October 2025<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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special \u2018 Le nozze di Figaro \u2019<\/strong>
announced success<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe new production of Le nozze di Figaro concluded the 79th season of the Teatro Lirico Sperimentale ‘A. Belli’ in Spoleto. It was so successful that the audience repeatedly applauded the singers’ performances during the show, which is unusual for music lovers. The singers were not only talented vocalists but also skilled performers, demonstrating how the T.L.S.’s commitment to training young artists covers all areas of performance and yields excellent results.\u00bb<\/p>

_ Carla Santini, La Folla, 13.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Lirico Sperimentale at the Morlacchi Theatre in Perugia: start of the regional tour of Nozze di Figaro<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abWe said three hours, but in reality they flew by […] with the actors moving around really effectively. We enjoyed watching the young people give their all, with some exceeding expectations. Cherubino was played by Emma Alessi Innocenti<\/strong>, who had a very credible vocal range.\u00bb <\/p>

_ Stefano Ragni, QuotidianodellUmbria.it, 23.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto: Le Nozze di Figaro shines with modernity<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abthe entire company, indeed the entire cast […] made Mozart a happy fellow citizen of Spoleto.\u00bb<\/p>

_ Marco Ranaldi, Le Salon Musical, 12.09.25 e 13.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The jellyfish of Eros
Perugia: at the Morlacchi Theatre, The Marriage of Figaro by theTeatro Sperimentale in Spoleto, conducted by Angius and directed by Brockhaus
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\u00abFollowing five performances at the Teatro Nuovo in Spoleto, the regional tour opened on 18 September in the Umbrian capital with one of the three opera companies comprising winners of the Sperimentale competition. The protagonists, the Almaviva couple, were played by Giorgia Costantino and Andrea Ariano, who played the antagonists of the representatives of the ‘fourth estate’, Figaro and Susanna, played by Nicol\u00f2 Lauteri and Eleonora Benetti respectively. The audience particularly enjoyed Emma Alessi Innocenti<\/strong>‘s Cherubino, who was mirroring the future bride, Ariadna Vilardaga’s Barbarina. […]\u00bb <\/p>

_ Stefano Ragni, L’opera, October 2025<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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special \u2018 Le nozze di Figaro \u2019<\/strong>
announced success<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe new production of Le nozze di Figaro concluded the 79th season of the Teatro Lirico Sperimentale ‘A. Belli’ in Spoleto. It was so successful that the audience repeatedly applauded the singers’ performances during the show, which is unusual for music lovers. The singers were not only talented vocalists but also skilled performers, demonstrating how the T.L.S.’s commitment to training young artists covers all areas of performance and yields excellent results.\u00bb<\/p>

_ Carla Santini, La Folla, 13.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Lirico Sperimentale at the Morlacchi Theatre in Perugia: start of the regional tour of Nozze di Figaro<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abWe said three hours, but in reality they flew by […] with the actors moving around really effectively. We enjoyed watching the young people give their all, with some exceeding expectations. Cherubino was played by Emma Alessi Innocenti<\/strong>, who had a very credible vocal range.\u00bb <\/p>

_ Stefano Ragni, QuotidianodellUmbria.it, 23.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto: Le Nozze di Figaro shines with modernity<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abthe entire company, indeed the entire cast […] made Mozart a happy fellow citizen of Spoleto.\u00bb<\/p>

_ Marco Ranaldi, Le Salon Musical, 12.09.25 e 13.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The jellyfish of Eros
Perugia: at the Morlacchi Theatre, The Marriage of Figaro by theTeatro Sperimentale in Spoleto, conducted by Angius and directed by Brockhaus
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\u00abFollowing five performances at the Teatro Nuovo in Spoleto, the regional tour opened on 18 September in the Umbrian capital with one of the three opera companies comprising winners of the Sperimentale competition. The protagonists, the Almaviva couple, were played by Giorgia Costantino and Andrea Ariano, who played the antagonists of the representatives of the ‘fourth estate’, Figaro and Susanna, played by Nicol\u00f2 Lauteri and Eleonora Benetti respectively. The audience particularly enjoyed Emma Alessi Innocenti<\/strong>‘s Cherubino, who was mirroring the future bride, Ariadna Vilardaga’s Barbarina. […]\u00bb <\/p>

_ Stefano Ragni, L’opera, October 2025<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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special \u2018 Le nozze di Figaro \u2019<\/strong>
announced success<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe new production of Le nozze di Figaro concluded the 79th season of the Teatro Lirico Sperimentale ‘A. Belli’ in Spoleto. It was so successful that the audience repeatedly applauded the singers’ performances during the show, which is unusual for music lovers. The singers were not only talented vocalists but also skilled performers, demonstrating how the T.L.S.’s commitment to training young artists covers all areas of performance and yields excellent results.\u00bb<\/p>

_ Carla Santini, La Folla, 13.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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From cabaret to dodecaphony:<\/strong> Gino Negri’s avant-garde in Spoleto,
a celebration of many styles<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe climax of fun and applause finally coincides with the triumph of Negri’s mimetic virtues (the truest Negri?): the cabaret-parody explosion of Il t\u00e8 delle tre. […] In a whirlwind of irresistibly exaggerated costumes, a singer dressed as a woman (the pyrotechnic Luca Giacomelli Ferrarini) twirls and wins over the audience with his vocal flexibility and comedic talent. Who could it be? It is an opera diva, called to perform in the living room of three elderly sisters who are former singers, One of them (Samuele Marelli, alongside the lively Chiara Latini and Emma Alessi Innocenti<\/strong>) is voiceless and here also cheerfully bearded. Immersed in her purple plumage, she communicates only via vibraphone!\u00bb <\/p>

_ Gian Mario Benzing, Corriere.it, 31.08.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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GOSSIP ABOUT OLD MILAN<\/strong>
FROM THE DINING ROOM<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abUn corale “bravissimi” a tutti gli interpreti ascoltati al Caio Melisso. Con il plus di una doppia compagnia \u2014 diversa e cos\u00ec interessante, ma quando mai succede? in toto. […] <\/span>And<\/span> then the were the magnificents of T\u00e8 delle tre, <\/span>Chiara Latini with<\/span> Emma Alessi Innocenti<\/strong> – important singing – and Eleonora Benetti<\/span> and Francesca Lione, theatrical and eccentric. […] <\/span>How much irrepressible comedy in the sisters, including the third, who was mute but played the vibraphone: Samuele Marelli.\u00bb<\/span><\/p>

_ Carla Moreni, Il Sole 24 ore, <\/span><\/span> 07.09.25<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The tragicomedies<\/strong> of an unhappy middle class<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abA complete, total and vibrant success! A magical evening. One of those evenings that leaves you happy to have been at the theatre \u2014 in this case, the Caio Melisso \u2014 and, which is rare, happy to have enjoyed yourself. […] The young artists of the Sperimentale did a wonderful job of following Pizzi and Angius’s guidance and bringing Negri’s theatre to life. It would be both pointless and unfair to attempt a ranking \u2014 they should all be considered architects of success, each bringing their own specific qualities to the two performances we attended. We have already mentioned success, but it would be more accurate to use the term ‘triumph’.\u00bb<\/p>

_ Giancarlo Landini, L’opera, September 2025<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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GOSSIP ABOUT OLD MILAN<\/strong>
FROM THE DINING ROOM<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abA resounding \u2018well done\u2019 to all the performers we heard at the Caio Melisso. And the added bonus of a double cast \u2014 so different and so interesting; when does that ever happen? \u2014 to be booked in their entirety. […] <\/span>And<\/span> then the were the magnificents of T\u00e8 delle tre, <\/span>Chiara Latini with<\/span> Emma Alessi Innocenti<\/strong> – important singing – and Eleonora Benetti<\/span> and Francesca Lione, theatrical and eccentric. […] <\/span>How much irrepressible comedy in the sisters, including the third, who was mute but played the vibraphone: Samuele Marelli.\u00bb<\/span><\/p>

_ Carla Moreni, Il Sole 24 ore, <\/span><\/span> 07.09.25<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The tragicomedies<\/strong> of an unhappy middle class<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abA complete, total and vibrant success! A magical evening. One of those evenings that leaves you happy to have been at the theatre \u2014 in this case, the Caio Melisso \u2014 and, which is rare, happy to have enjoyed yourself. […] The young artists of the Sperimentale did a wonderful job of following Pizzi and Angius’s guidance and bringing Negri’s theatre to life. It would be both pointless and unfair to attempt a ranking \u2014 they should all be considered architects of success, each bringing their own specific qualities to the two performances we attended. We have already mentioned success, but it would be more accurate to use the term ‘triumph’.\u00bb<\/p>

_ Giancarlo Landini, L’opera, September 2025<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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At the Sperimentale theatre,<\/strong> a dive into Gino Negri’s 1950s Milan with Pizzi and Angius<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe pace is fast, the plot is impeccable, and entertainment is guaranteed in the unpredictable finale. […] Paolo Mascari (Luca Giacomelli Ferrarini in the other cast) is the guest singer, with the elderly sisters Eleonora Benetti and Francesca Lione, who also alternate with Chiara Latini and Emma Alessi Innocenti<\/strong> […]. The entire production \u2013 stage direction and costumes, with the help of the historic Tirelli-Trappetti tailors \u2013 is signed by the eternally young Pier Luigi Pizzi. He designed an essential and idiomatic set for the three moments, generously guiding the Sperimentale’s young artists with appropriate and sober movement, providing them with an experience of memorable formative value.\u00bb <\/p>

_ Francesco Arturo Saponaro, MusicPaper, 03.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto (Pg). Lirico Sperimentale. Gino Negri: the triptych of bitter irony conquers Caio Melisso <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abFavetta and Splendore (Eleonora Benetti\/Chiara Latini and Emma Alessi Innocenti<\/b>\/Francesca Lione) seem like intellectual Barbies in a mad world. […] Negri’s triptych was as refined as it was daring. […] The audience, numerous and engaged in all the performances, responded with warmth and obvious appreciation […] enthusiastic applause at the end of each act and a long final ovation confirmed the success of a project as rare as it was engaging.\u00bb <\/p>

_ Monica Maranelli, ArtesNews, 02.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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79th Spoleto Opera Season. A triptych by Gino Negri <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe third performance of the Sperimentale, which took place on 29 August and had a resounding success, was extraordinarily interesting. […] Emma Alessi Innocenti<\/strong>, the winner of the 2024 competition, portrayed a Splendore full of exuberant verve with her soft and luminous mezzo-soprano voice. […] The protagonists received rapturous applause at the end of the show.\u00bb <\/p>

_ Daniela Puggioni, gothicnetwork.org, 08.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto (Pg). Lirico Sperimentale. Gino Negri: the triptych of bitter irony conquers Caio Melisso <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abFavetta and Splendore (Eleonora Benetti\/Chiara Latini and Emma Alessi Innocenti<\/b>\/Francesca Lione) seem like intellectual Barbies in a mad world. […] Negri’s triptych was as refined as it was daring. […] The audience, numerous and engaged in all the performances, responded with warmth and obvious appreciation […] enthusiastic applause at the end of each act and a long final ovation confirmed the success of a project as rare as it was engaging.\u00bb <\/p>

_ Monica Maranelli, ArtesNews, 02.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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79th Spoleto Opera Season. A triptych by Gino Negri <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe third performance of the Sperimentale, which took place on 29 August and had a resounding success, was extraordinarily interesting. […] Emma Alessi Innocenti<\/strong>, the winner of the 2024 competition, portrayed a Splendore full of exuberant verve with her soft and luminous mezzo-soprano voice. […] The protagonists received rapturous applause at the end of the show.\u00bb <\/p>

_ Daniela Puggioni, gothicnetwork.org, 08.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Gino Negri\u2019s opera in Spoleto. Success for the show by <\/strong>Pier Luigi Pizzi and Marco Angius<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abIn the lead role is Luca Giacomelli Ferrarini […] The other two female roles were played by soprano Chiara Latini (winner of the 2024 Competition) as Favetta and mezzo-soprano Emma Alessi Innocenti<\/strong> (first prize winner of the 2024 Competition) as Splendore. Both singers gave convincing performances in terms of both acting and singing. […]
The performance on 29 August, which we attended at the Teatro Caio Melisso, ended in triumph, providing the perfect conclusion to an intense and engaging performance by all the artists. There was applause, ovations and curtain calls for everyone, with Pier Luigi Pizzi, the star of the evening, receiving a personal triumph.\u00bb <\/p>

_ Claudio Listanti, aboutartonline.com, 01.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Gino Negri’s puns<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abChiara Latini and Eleonora Benetti performed the role of Favetta, while Emma Alessi<\/strong> and Francesca Lione played Splendore. […] Together, they formed the pair of peripatetic vestals of the famous singer. They were talented and entertaining.\u00bb <\/p>

_ Marco Ranaldi, Il Manifesto, 03.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Triptych by Gino Negri<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abMaestro Marco Angius skilfully accompanied the triptych with music ranging from dodecaphony to other genres, in keeping with Negri’s commitment to experimentation.
The performance was greatly appreciated by the audience, who once again praised the skill of the performers, orchestra and all the technical staff.\u00bb<\/p>

_ Carla Santini, La Folla, 30.08.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Gino Negri’s puns<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abChiara Latini and Eleonora Benetti performed the role of Favetta, while Emma Alessi<\/strong> and Francesca Lione played Splendore. […] Together, they formed the pair of peripatetic vestals of the famous singer. They were talented and entertaining.\u00bb <\/p>

_ Marco Ranaldi, Il Manifesto, 03.09.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Triptych by Gino Negri<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abMaestro Marco Angius skilfully accompanied the triptych with music ranging from dodecaphony to other genres, in keeping with Negri’s commitment to experimentation.
The performance was greatly appreciated by the audience, who once again praised the skill of the performers, orchestra and all the technical staff.\u00bb<\/p>

_ Carla Santini, La Folla, 30.08.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto<\/span>: an \u201cExperimental\u201d Liederabend<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abIn short, the programme performed at the Sala Pegasus in Spoleto, following Agostini\u2019s enchanting rendition of the Nanof<\/em>, was a true celebration of perfect joy. Perhaps it was the solemn setting, but the spell it cast was certainly sublime. […] <\/span>[It] is worth highlighting the skill of the performers, who executed challenging pieces with great attention to detail, despite the fact that Italian conservatories do not include lied in their teaching programmes.
We would particularly like to mention Emma Alessi Innocenti<\/strong>, a highly refined Loewe interpreter, and Krystina Kustkova, who performed Liszt’s melody with such intensity that it became a true invocation of passion.\u00bb<\/p>

_ Marco Ranaldi, Le Salon Musical, 12.08.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00abNanof\u00bb, success in Spoleto for opera about genius, pain and madness<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abPizzech succeeds here in guiding the young of the Tls into a scenic authenticity, movement and responsiveness such as we do not often see in opera houses. […] In addition to the Chorus, which has very suggestive reverberated passages (\u00abFratello, spera…\u00bb), it is from the two female figures, Lei1 and Lei2, the woman-mother and the woman-lover, that the dissociations, the deep wounds of the protagonist most surface: the ethical\/vocal contrast between the two voices\/hypostasis gradually dissolves into fading.
<\/span>The performers, Chiara Latini and Emma Alessi Innocenti<\/strong>, blend high vocal agility (Lei1 also shines in the not-so-easy inhaled\/exhaled singing passages in rapid succession, as on \u00abi fantasmi sono furmidabbili…\u00bb), gestural intensity, sensuality, desperation.
<\/span>The finale is all their own. First they intone nursery rhymes-regression in circles, ghostly counterpoint even of different emission techniques. Then the scene turns to a bare Deposition. The pious women rub and wash stooped Nanof’s naked body, intoning, now vocally more united, a rarefied mourning. It is the touching concluding \u00abPsalmody\u00bb. Which quotes Jacopone (\u00abFiglio, amoroso giglio…\u00bb) and dies out on the treble of the violins, the bow \u00abquasi immobile\u00bb: \u00abcome un frusc\u00eco\u00bb-or a transfiguration.\u00bb <\/span><\/p>

_ Gian Mario Benzing, Corriere della Sera, 9.08.25<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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79th Sperimentale Opera Season. Nanof, the other, the escape to freedom <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abAgostini prescribed a very high vocal range for the two female characters (soprano and mezzo-soprano), which made the words and colours of the voice less intelligible. However, in this case, it proved effective in conveying the protagonist’s hallucinatory vision of the two characters.
Chiara Latini, a soprano from the 2024 competition playing the maternal figure Lei 1, displayed confident stage presence and a crystal-clear voice. Emma Alessi Innocenti<\/strong>, mezzo-soprano and winner of the 2024 competition, effectively interpreted She 2, the erotic female presence, using an expressive, soft voice within the required tessitura. Both performers delivered the Deposition on Jacopone da Todi’s verses in the final scene with dramatic intensity.\u00bb <\/p><\/div>

_ Daniela Puggioni, gothicnetwork.org, 18.08.25<\/a><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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“Nanof e l’altro.” Success at the Sperimentale of Spoleto for Antonio Agostini’s new opera <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe two female roles, Lei 1 soprano and Lei 2 mezzo-soprano have a more impervious part for their respective textures, often oriented toward the <\/span>sprechgesang<\/span> of Schoenberg’s German expressionist character that always makes performers uncomfortable, not easy to understand in the text, but certainly effective in color and timbre in the context of the performance and useful in conveying feelings and moods. <\/span>[…]
In the two female parts two singers from […] the 2024 competition, soprano Chiara Latini as Lei 1 and mezzo-soprano Emma Alessi Innocenti<\/strong> (first prize winner) as Lei 2, both very good for their respective difficult parts.”<\/span><\/p>

_ <\/span>Claudio Listanti, aboutartonline.com, 10.08.25<\/a><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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79th Sperimentale Opera Season. Nanof, the other, the escape to freedom <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abAgostini prescribed a very high vocal range for the two female characters (soprano and mezzo-soprano), which made the words and colours of the voice less intelligible. However, in this case, it proved effective in conveying the protagonist’s hallucinatory vision of the two characters.
Chiara Latini, a soprano from the 2024 competition playing the maternal figure Lei 1, displayed confident stage presence and a crystal-clear voice. Emma Alessi Innocenti<\/strong>, mezzo-soprano and winner of the 2024 competition, effectively interpreted She 2, the erotic female presence, using an expressive, soft voice within the required tessitura. Both performers delivered the Deposition on Jacopone da Todi’s verses in the final scene with dramatic intensity.\u00bb <\/p><\/div>

_ Daniela Puggioni, gothicnetwork.org, 18.08.25<\/a><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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“Nanof e l’altro.” Success at the Sperimentale of Spoleto for Antonio Agostini’s new opera <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe two female roles, Lei 1 soprano and Lei 2 mezzo-soprano have a more impervious part for their respective textures, often oriented toward the <\/span>sprechgesang<\/span> of Schoenberg’s German expressionist character that always makes performers uncomfortable, not easy to understand in the text, but certainly effective in color and timbre in the context of the performance and useful in conveying feelings and moods. <\/span>[…]
In the two female parts two singers from […] the 2024 competition, soprano Chiara Latini as Lei 1 and mezzo-soprano Emma Alessi Innocenti<\/strong> (first prize winner) as Lei 2, both very good for their respective difficult parts.”<\/span><\/p>

_ <\/span>Claudio Listanti, aboutartonline.com, 10.08.25<\/a><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto: Nanof, l\u2019altro<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00ab[…] the performers [Ed.<\/em>: of Nanof, l’altro<\/em>] are phenomenal, starting with Davide Peroni, a truly tormented performer with a powerful stage presence. It’s a possible synthesis of infirm singing and illness. Excellent. The same can be said of Chiara Latini and Emma Alessi Innocenti<\/strong> (whose surname is full of references to unconscious scenes!).\u00bb <\/p>

_ <\/span>Marco Ranaldi, Le Salon Musical, 10.08.25<\/a><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Season of the Teatro Lirico Sperimentale of Spoleto: <\/strong><\/em>opera<\/strong> premiere
<\/strong>“Nanof, l’altro”<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe performance, raw in its narrative, succeeded fully because of the singing and interpretative efforts of its singers.<\/p><\/div>

As always, the teamwork did not disappoint the audience’s expectations; singers, orchestra, and workers immersed themselves in the opera and contributed to its success.\u00bb<\/p><\/div>

_ Carla Santini, La Folla, 10.08.25<\/a><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto’s Teatro ”A. Belli” opened its seventy-ninth opera season with a world premiered opera<\/strong>
The madman Nanof and the other<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abAgostini’s opera is truly valuable, convincing: new in many ways. Contributing to the result were the young opera singers of Spoleto’s Theatre, who came out of the international competitions held on the boards of the Teatro Caio Melisso or Teatro Nuovo year after year.\u00bb<\/p><\/div>

_ Athos Tromboni, Gli Amici della Musica, 10.08.25<\/a><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Season of the Teatro Lirico Sperimentale of Spoleto: <\/strong><\/em>opera<\/strong> premiere
<\/strong>“Nanof, l’altro”<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe performance, raw in its narrative, succeeded fully because of the singing and interpretative efforts of its singers.<\/p><\/div>

As always, the teamwork did not disappoint the audience’s expectations; singers, orchestra, and workers immersed themselves in the opera and contributed to its success.\u00bb<\/p><\/div>

_ Carla Santini, La Folla, 10.08.25<\/a><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto’s Teatro ”A. Belli” opened its seventy-ninth opera season with a world premiered opera<\/strong>
The madman Nanof and the other<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abAgostini’s opera is truly valuable, convincing: new in many ways. Contributing to the result were the young opera singers of Spoleto’s Theatre, who came out of the international competitions held on the boards of the Teatro Caio Melisso or Teatro Nuovo year after year.\u00bb<\/p><\/div>

_ Athos Tromboni, Gli Amici della Musica, 10.08.25<\/a><\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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For the Sperimentale in Spoleto, two shows dedicated to Italian comic opera by Chailly, Bettinelli and Domenico Sarro<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abOn the musical side, we were able to admire the performance of two good singers. First and foremost that of mezzo-soprano Emma Alessi Innocenti<\/strong>, who won first prize in the Sperimentale’s 2024 Singing Competition who exhibited a warm and well-calibrated voice managing to give depth to the character for the realization of the singing line that she tackled with confidence but also for the well evident stage presence for a fun and decisive Eurilla<\/em> in the actions.\u00bb <\/p>

_ Claudio Listanti, aboutartonline.com, 08.09.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto. Domenico Sarro’s Amusing Intermezzi <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abEmma Alessi Innocenti<\/strong>, winner of first prize in the 78th edition of the “European Community” Competition for Young Opera Singers of the Teatro Lirico Sperimentale di Spoleto, gave life to a sprightly Eurilla with her warm and soft mezzo-soprano voice, which she uses intelligently and with conscious ownership.\u00bb<\/p>

_ Daniela Puggioni, gothicnetwork.org, 09.13.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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At the Teatro Lirico Sperimentale, the \u201cluxury\u201d of 18th-century intermezzos |<\/strong> An irresistible vice<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe Intermezzi cycle at the Teatro Lirico never disappoints, whether it’s the dull critic who is present\/absent here or the audience eager to see something that will lift their spirits and hearts. […] Anyone expecting a summary of the Intermezzi staged in Spoleto should be under no illusion that this will happen tomorrow or indeed ever! […] Instead, we will spend a few words describing the absolute brilliance of the 8 September cast: Chiara Guerra-Moschetta and Davide Piva-Grullo. And Emma Alessi Innocenti<\/strong>\u2013Eurilla and Andrea Ariano\u2013Beltramme.\u00bb <\/p>

_ Carlo Vantaggioli, Tuttoggi, 09.09.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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For the Sperimentale in Spoleto, two shows dedicated to Italian comic opera by Chailly, Bettinelli and Domenico Sarro<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abOn the musical side, we were able to admire the performance of two good singers. First and foremost that of mezzo-soprano Emma Alessi Innocenti<\/strong>, who won first prize in the Sperimentale’s 2024 Singing Competition who exhibited a warm and well-calibrated voice managing to give depth to the character for the realization of the singing line that she tackled with confidence but also for the well evident stage presence for a fun and decisive Eurilla<\/em> in the actions.\u00bb <\/p>

_ Claudio Listanti, aboutartonline.com, 08.09.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto. Domenico Sarro’s Amusing Intermezzi <\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abEmma Alessi Innocenti<\/strong>, winner of first prize in the 78th edition of the “European Community” Competition for Young Opera Singers of the Teatro Lirico Sperimentale di Spoleto, gave life to a sprightly Eurilla with her warm and soft mezzo-soprano voice, which she uses intelligently and with conscious ownership.\u00bb<\/p>

_ Daniela Puggioni, gothicnetwork.org, 09.13.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Milk or lemon?
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\u00abThe performers in the first and following performance were excellent. In Procedura Penale, Contessa Mauritia was played by Aloisa De Nardis and Giorgia Costantino, Donna Titti Stefanetti by Eleonora Benetti and Chiara Latini, Giandomenico by Marco Guarini and Alberto Petricca, and Paola Isoscele by Emma Alessi Innocenti<\/strong> and Francesca Lione. […] In evaluating the operation, the educational purpose of performing this repertoire was to show the young people selected from the Sperimentale Competition that opera offers a wide range of diverse job opportunities. You just need to know how to seize them, as the audience must also do: free from prejudice, it can range across a rich musical landscape full of pleasant surprises.
It was a resounding success.\u00bb <\/p>

_ Giancarlo Landini, L’opera, September 2024<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Teatro Lirico Sperimentale di Spoleto 2024 Review: Procedura Penale La Smorfia<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Original in English]<\/em> \u00abAll the singers acquitted themselves well, making strong, positive impressions. […] Of the five female singers, mezzo-soprano Emma Alessi Innocenti<\/strong>, playing the role of Paola Isoscele, was the only one who was not a soprano, and was thus responsible for adding variety to the vocal texture of the piece, which she did splendidly in a colorful and expressively nuanced performance, full of detail and expressivity. She also had the opportunity to perform what was the opera\u2019s most immediately attractive aria, which allowed her to show off her well-crafted phrasing along with the beauty of her voice.\u00bb <\/p>

_ Alan Neilson, OperaWire, 30.09.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto, Lirico Sperimentale: Chailly and Bettinelli’s historic 20th century at Caio Melisso<\/strong><\/p>

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\u00abIt remains to mention the excellent singers Aloisia de Nardis, the outstanding Countess Maurizia, Eleonora Benetti, Marco Guarini, Emma Alessi Innocenti<\/strong>, Nicola di Filippo, Chiara Guerra, and Viktoriia Balan. For \u201cLa smorfia,\u201d Davide Piva, the possessed pharmacist, Paolo Mascari, Ferruccio Finetti, Federico Vita, Nicola di Filippo, and Chiara Latini. All \u201cenlightened\u201d by Giorgio Bongiovanni’s ability to smile at his own mastery. A matter of skin.\u00bb <\/p>

_ Stefano Ragni, Il giornale dell’Umbria, 30.08.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Teatro Lirico Sperimentale di Spoleto 2024 Review: Procedura Penale La Smorfia<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Original in English]<\/em> \u00abAll the singers acquitted themselves well, making strong, positive impressions. […] Of the five female singers, mezzo-soprano Emma Alessi Innocenti<\/strong>, playing the role of Paola Isoscele, was the only one who was not a soprano, and was thus responsible for adding variety to the vocal texture of the piece, which she did splendidly in a colorful and expressively nuanced performance, full of detail and expressivity. She also had the opportunity to perform what was the opera\u2019s most immediately attractive aria, which allowed her to show off her well-crafted phrasing along with the beauty of her voice.\u00bb <\/p>

_ Alan Neilson, OperaWire, 30.09.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Spoleto, Lirico Sperimentale: Chailly and Bettinelli’s historic 20th century at Caio Melisso<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abIt remains to mention the excellent singers Aloisia de Nardis, the outstanding Countess Maurizia, Eleonora Benetti, Marco Guarini, Emma Alessi Innocenti<\/strong>, Nicola di Filippo, Chiara Guerra, and Viktoriia Balan. For \u201cLa smorfia,\u201d Davide Piva, the possessed pharmacist, Paolo Mascari, Ferruccio Finetti, Federico Vita, Nicola di Filippo, and Chiara Latini. All \u201cenlightened\u201d by Giorgio Bongiovanni’s ability to smile at his own mastery. A matter of skin.\u00bb <\/p>

_ Stefano Ragni, Il giornale dell’Umbria, 30.08.24<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Gorizia, Teatro Verdi – Aci, Galatea e Polifemo (by Georg Friedrich H\u00e4ndel)<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abEmma Alessi Innocenti<\/strong>, endowed with a beautiful timbre, made herself appreciated in the role of Galatea, both in the more virtuosistic arias and in those of half-character, where expressiveness acquires importance, and for stage presence, acting with great skill.\u00bb<\/p>

_ Stefano Bisacchi, Connessi all’Opera, 15.11.23<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Aci, Galatea e Polifemo – Teatro Verdi, Gorizia<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe singers also seem to be comfortable in their musical tempos, and the balance of sound is well balanced. With Sara Mingardo’s musical and stylistic supervision, the boys managed to have a good rendition during the Nov. 12 performance in particular […] Emma Alessi Innocenti<\/strong> ‘s Galatea is sung with a voice of fine color, her stage presence is excellent as is her diction, which is never obvious for opera.\u00bb <\/p>

_ Patricia Fodor, Operalife, 14.11.23<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Gorizia, Teatro Verdi – Aci, Galatea e Polifemo (by Georg Friedrich H\u00e4ndel)<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abEmma Alessi Innocenti<\/strong>, endowed with a beautiful timbre, made herself appreciated in the role of Galatea, both in the more virtuosistic arias and in those of half-character, where expressiveness acquires importance, and for stage presence, acting with great skill.\u00bb<\/p>

_ Stefano Bisacchi, Connessi all’Opera, 15.11.23<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Aci, Galatea e Polifemo – Teatro Verdi, Gorizia<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe singers also seem to be comfortable in their musical tempos, and the balance of sound is well balanced. With Sara Mingardo’s musical and stylistic supervision, the boys managed to have a good rendition during the Nov. 12 performance in particular […] Emma Alessi Innocenti<\/strong> ‘s Galatea is sung with a voice of fine color, her stage presence is excellent as is her diction, which is never obvious for opera.\u00bb <\/p>

_ Patricia Fodor, Operalife, 14.11.23<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Gorizia – Teatro Comunale Giuseppe Verdi: Aci, Galatea e Polifemo<\/em><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abExcellent work on the individuals, including the two girls, fresh winners of the competition aimed at production.<\/p>

Maddalena De Biasi (Aci) and Emma Alessi Innocenti <\/strong>(Galatea) indeed prove to be not only young singers, but also young artists.<\/p>

The former grows exponentially throughout the opera, shelling out remarkable agilities and managing to move in the finale Verso gi\u00e0 l’alma col sangue<\/em>, while the latter stands out for stylistic relevance and stage dedication.\u00bb<\/p>

_ Andrea Bomben, OperaClick<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Barocco Europeo 2023 Review: Aci, Galatea e Polifemo – Teatro Arrigoni di San Vito al Tagliamento<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Original in English]<\/em> \u00ab All three of the chosen singers performed excellently, to the extent that their performances would have stood comparison with far more established singers.<\/p>

The standout, however, was mezzo-soprano Emma Alessi Innocenti<\/strong> in the role of Galatea. She has a voice made for the theatre. Such is the detail and subtlety with which she is able to furnish the vocal line that her quality of expression is breathtaking; it allowed her to portray Galatea\u2019s layered emotional depths, twists and turns with an impressive degree of realism, which she backed up with a fine acting performance. In the opening scene, she voiced her fears in her aria \u201cSforzano in piangere con pi\u00f9 delor,\u201d in which she immediately captured the attention with her sensitive phrasing, pleasing vocal coloring and the beauty and lyricism of her singing. Following the death of Aci, she exploded at Polifemo with a fierce rendition of the aria \u201cDel mar fra l\u2019onde,\u201d in which all her suffering, anger and defiance poured forth, allowing her to display her vocal agility through her accenting, sharp dynamic contrasts and emotionally strong coloratura. It was a performance in which she completely immersed herself. <\/p>

_ Alan Neilson, OperaWire, 3.12.23<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Olympics won by a young cast – Teatro Olimpico of Vicenza<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abAmong the young performers Emma Alessi Innocenti<\/strong> stood out, a Megacle with a beautiful singing line, expressive and involved in both arias and recitatives (her Misero me che veggo was remarkable!).\u00bb<\/p>

_ Davide Cornacchione, OperaTeatro, 5.09.20 <\/a> <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Vicenza, L’Olimpiade, 05\/09\/2020<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abAlso very positively striking is the pliability, freshness, and clarity of expression of Emma Alessi Innocenti<\/strong> as Megacle, perhaps the best of the cast.\u00bb<\/p>

_ Roberta Pedrotti, L’ape musicale, 7.09.20 <\/a> <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Olympics won by a young cast – Teatro Olimpico of Vicenza<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abAmong the young performers Emma Alessi Innocenti<\/strong> stood out, a Megacle with a beautiful singing line, expressive and involved in both arias and recitatives (her Misero me che veggo was remarkable!).\u00bb<\/p>

_ Davide Cornacchione, OperaTeatro, 5.09.20 <\/a> <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Vicenza, L’Olimpiade, 05\/09\/2020<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abAlso very positively striking is the pliability, freshness, and clarity of expression of Emma Alessi Innocenti<\/strong> as Megacle, perhaps the best of the cast.\u00bb<\/p>

_ Roberta Pedrotti, L’ape musicale, 7.09.20 <\/a> <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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FESTIVAL VICENZA IN LIRICA 2020: “L’Olimpiade,” directed by Bepi Morassi.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00ab[…] An excellent performance by the young promises who were already able to demonstrate a specific vocal and interpretive personality, to possess good vocal skills, with excellent phrasing, good management in recitatives, without showing fatigue or difficulty.
[…] Certainly Emma Alessi<\/strong> Innocenti<\/strong> as Megacle demonstrated an extra vocal and interpretive ease, which allowed her to attract the attention of the audience.\u00bb<\/p>

_ Federica Fanizza, Sipario, 8.09.20<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Vicenza in Lirica 2020 – L’Olimpiade<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00abThe young performers-who took part in the opera studio workshop-demonstrated<\/em> that they were able to face the required commitment with determination and stylistic awareness, yielding an overall excellent result. Merit for the painstaking work tackled with the director, a competent and passionate devotee of Venetian Baroque opera, and a few days of in-depth study spent with a teacher of the level of Sara Mingardo. The outcome is an ever-precise attention to the word, which translates into recitatives scanned with incisiveness and with that courtly nobility that the Metastasian text requires, but also a wholly singular taste for Vivaldi’s melodic procession. […]
Of precious timbral paste is the voice of the very young Emma Alessi Innocenti<\/strong>, a Megacle of astonishing maturity and remarkable stage presence.\u00bb <\/p>

_ Fabio Larovere, Connessi all’opera, 7.09.20<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Vicenza In Lirica 2020 Review: L\u2019Olimpiade<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Original in English] <\/em><\/em>\u00abThe most complete performance of the evening came from mezzo-soprano Emma Alessi Innocenti<\/strong> in the role of Megacle, who disguised as his friend Licida, competes in the Olympic Games (hence the title of the work) to win the hand of Aristea. She produced an expressive performance without compromising accuracy. In the passage of accompanied recitative, \u201cChe intesi, eterni Dei!\u201d she sang with passionate intensity, molding her phrasing intelligently to reflect the meaning of the text, whilst maintaining the clarity of the voice. Her voice has a pleasing tone, which brightens beautifully in the upper register. <\/p>

The aria “Lo segui felice” was beautifully rendered, in which she decorated the vocal line with pleasing ornamentation and color-rich intonation, along with soft and controlled, if not flamboyant coloratura. She was also convincing in a male role.\u00bb <\/p>

_ Alan Neilson, OperaWire, 16.09.2020<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Show Reviews Vicenza: Berenice vendicativa, the joy of rediscovery \u00abIt is rare for a modern premiere to coincide with a genuine historiographical revelation. This happened at the Teatro Olimpico in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"disabled","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"disabled","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-1492","page","type-page","status-publish","hentry"],"rttpg_featured_image_url":null,"rttpg_author":{"display_name":"emma_alessi","author_link":"https:\/\/emmaalessiinnocenti.com\/en\/author\/emma_alessi\/"},"rttpg_comment":0,"rttpg_category":" Opzionale<\/a>","rttpg_excerpt":"Show Reviews Vicenza: Berenice vendicativa, the joy of rediscovery \u00abIt is rare for a modern premiere to coincide with a genuine historiographical revelation. This happened at the Teatro Olimpico in […]","_links":{"self":[{"href":"https:\/\/emmaalessiinnocenti.com\/en\/wp-json\/wp\/v2\/pages\/1492","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/emmaalessiinnocenti.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/emmaalessiinnocenti.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/emmaalessiinnocenti.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/emmaalessiinnocenti.com\/en\/wp-json\/wp\/v2\/comments?post=1492"}],"version-history":[{"count":0,"href":"https:\/\/emmaalessiinnocenti.com\/en\/wp-json\/wp\/v2\/pages\/1492\/revisions"}],"wp:attachment":[{"href":"https:\/\/emmaalessiinnocenti.com\/en\/wp-json\/wp\/v2\/media?parent=1492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}