Manon Manon Manon - ENG

FOR THE FIRST TIME IN ITALY

THREE OPERAS, THREE COMPOSERS, ONE UNIQUE HEROINE

CHAIRMAN

Stefano Lo Russo

Mayor of the City of Turin

GENERAL MANAGER

Mathieu Jouvin

ARTISTIC DIRECTOR

Cristiano Sandri

GUIDELINE COUNCIL

Michele Coppola Vice-chairman

Giuseppe Bergesio

Giampiero Leo

Giuseppe Guido Navello

Roberto Pani

Francesca Ramondo

BOARD OF AUDITORS

Piergiorgio Della Ventura Chairman

Diego De Magistris

Massimo Broccio Auditors

The 2024–2025 Season at Teatro Regio will be commencing with Manon Manon Manon, a tribute to the artistic genius of three great composers, all inspired by the one same heroine, Manon Lescaut. A project that once again shows, also symbolically, how the Teatro Regio continues to find its strength in a cultural pluralism that explores and brings to the stage different, yet complementary perspectives. A line-up open to people of all walks, unlocking access to cultural productions of the highest quality from a variety of approaches.

The Puccini opera that will open the new “triptych” has a special bond with our city and with the theatre, as it was in Torino, at the Teatro Regio, that the composer staged the world premiere of his Manon Lescaut, on 1 February 1893, attracting great acclaim. Even the lens through which the project presents the heroine, that of cinema, has a strong, inseparable bond with our city. With this new season, the Teatro Regio demonstrates once again all its capacity for renewal, remaining faithful to its close relationship with the public and society, while showing the courage to propose an innovative cultural and artistic programme of true quality.

I invite everyone to come and enjoy an extraordinary programme made possible by the workers, artists, and all the staff at the Teatro Regio, bringing us, as always, the magic and excitement of imagination at its best, transformed by the theatre in its daily work.

Stefano Lo Russo

Mayor of the City of Turin

Chairman of the Teatro Regio Foundation

“Beauty is but the promise of happiness.”

The starting point and fulcrum of this project is Giacomo Puccini, whose Manon Lescaut premiered on 1 February 1893 at the Teatro Regio and for whom the year 2024 marks the centenary of his death. Puccini is a fundamental composer for us, seeing that he chose the Teatro Regio in Turin for two world premieres. As such, together with artistic director Cristiano Sandri, we decided to begin our tribute to his artistic genius in the current season — presenting as many as seven of his operas — to then commence the 2024–2025 Season with a very special spotlight on his Manon, marking the start, for the first time in Italy, of a three-part portrait exploring all the faces of Manon.

Manon Manon Manon is a fascinating and ambitious portrait from three perspectives of a woman like no other — Manon Lescaut. The central character of the Abbé Prévost’s sensational eighteenth-century novel, she has been an inspiration to no less than three great composers: Daniel Auber, who first brought the character on stage in Manon Lescaut in 1856; Jules Massenet, who composed his Manon in 1884; and Giacomo Puccini, who achieved his first great triumph with Manon Lescaut in 1893. Three Manons, three independent, but complementary operas, three orchestra directors, three performers giving voice to one compelling character, and three different casts for a unique “triptych” of portraits. With twenty-one shows over a single month, Manon, Manon, Manon is a true feat of artistic depth and production capacity, showcasing the worldclass standing of the Teatro Regio.

Deus ex machina Arnaud Bernard, the director we tasked to stage the three productions, has chosen to tell the three stories through the lens of the silver screen, specifically through three iconic eras of French cinema — so fitting for a city like Turin, of such importance for cinema history.

We have chosen to line-up the three operas so that audiences can enjoy a different production each night or see the full Manon “triptych” over a single weekend, making it an ideal treat for visitors to the city and adding another thrilling option to the city’s rich calendar of cultural events.

I invite you not to miss out on this unique and exciting opportunity, which for me has the special flavour of wine-tasting — just like every vintage, every terroir, every vineyard brings out the different qualities of the one grape variety, here each production brings to life the different souls of one unique heroine, in turn frivolous, tortured, and rebel. A thrilling experience that will capture the minds and hearts of audiences.

Mathieu Jouvin General Manager Teatro Regio

Manon, Manon, Manon…

Loyalty and Betrayal

It is not easy to explain in just a few lines my approach to the three Manons project, as so much could be said just on the source of inspiration for these operas, a story published in 1731 by the Abbé Prévost, Histoire du Chevalier Des Grieux et de Manon Lescaut. It was part of the greater fictional work, the Mémoires et Aventures d’un Homme de Qualité, which tells the turbulent story of a defrocked abbot, moralist in his Christianity but libertine in his philosophy, who dreams of breaking free but always returns to his chains. The novel was scandalous at the time, banned and destroyed by the authorities, but pirated copies circulated widely, leading it to become one of the most popular novels of the seventeen hundreds. It perilous journey into the “underground world” of the heart — in an era when irony, witticism, and savoir-faire often trumped the value of genius — remains an adventure without parallel.

The 1800s gave us the archetype of the fille galante, of the woman as eternal femininity — breathtakingly beautiful on the one hand, enigmatically wicked on the other

It was in the eighteen hundreds that Manon would secure her place in literary history, transformed into the archetype of the fille galante. As a certain image of the woman as eternal femininity, breathtakingly beautiful on the one hand, enigmatically wicked on the other, an irresistible creature and instrument of perdition. In 1848, after the publication of Dame aux Camélias, her myth would intercross, in the genetic sense of the term, with one of the great myths of the century, from Anna Karenina to Madame Bovary — the myth of the courtesan, of the kept woman, the demi-mondaine, the grande horizontale, a rather vulgar description that shares little with Prévost’s original Manon, but which gives us a fairly good understanding of how she was viewed one century on. It was the eighteen hundreds that canonized Manon, directly inspiring three, very different composers — Auber (1856), Massenet (1884), and Puccini (1893) — and others before them indirectly, in particular Verdi (1853), for his La Traviata.

Presenting the three Manons in Italy, in the land of Verdi, is especially interesting — and legitimate — considering that Manon’s first stage avatars, in chronological order, were no less than Marguerite Gautier and Violetta Valéry. Only that the social condemnation was no longer truly the same. The times had changed, and Manon, the perfect emanation of an age devoted to pleasure, now embodied the eternal power of sensuousness. Criticized for her amoralism, Manon, as unloving as she is, was reappraised with respect to the avid courtesans of the eighteen hundreds, who destroyed marriages and left families in pieces. In the Abbé Prévost’s world, by contrast, a dissolute sex life never attracts such disapproval — Des Grieux reproaches Manon not so much for her fickleness, as for her frivolous taste for the high life. Prévost’s contemporary society censured Manon not for her dissolution, but for her deception. It is a difference that shows up the wide gap between the seventeen and eighteen hundreds in their relationship with pleasure and sexuality.

Who are these Manons?

Manon for Auber is a bird in a cage; for Massenet, a woman in search of herself; for Puccini, a freespirited and rebel woman

Prévost’s Manon is a rather adventurous woman, but also a free spirit who finds true love only too late. In the hands of the librettists, however, forced to cut back the story line for the opera, the nature of the heroine changes substantially. For Auber she is a bird in a cage; for Massenet, a woman in search of herself; for Puccini, a free-spirited and rebel woman. It is the union of all these Manons that makes Manon who she is, and staging the three Manons together is the point of this colossal enterprise.

These operas are, naturally, stand-alone works that live on independently. But it is their differences that emerge and magnify each other. When Puccini set out to compose his Manon Lescaut, Massenet’s opera had been triumphing on European stages since 1884. Puccini read the Abbé Prévost’s novel and studied the French composer’s score, ignoring the warnings of friends, including the music publisher Ricordi, who urged him not to compete with such a successful French opera. Puccini’s reply to them has gone down in history — Massenet, he said, “feels it as a Frenchman, with face powder and minuets. I shall feel it as an Italian, with a desperate passion.” Auber, with his parsimony and elegant discretion, instead stressed Manon’s essential loyalty to Des Grieux, in spite of the compromises forced on her by events — a loyalty that is the mainspring of Scribe’s libretto, which strips the story of its sensuality, and its sexuality. That loyalty comes to the fore more

clearly in Prévost’s novel than in the two famous operas from the late eighteen hundreds, where it is simplified, exaggerated, and blown out of proportion by the respectable minds of the era. Puccini’s Manon is a rebel; Massenet’s Manon is tortured soul; Auber’s Manon is frivolous. Each Manon in her way departs from and returns to her older, literary sister — they are neither faithful to her, but nor do they betray her.

If we take one piece out of the triptych, it all falls apart. It was that observation that convinced me of the need to find a common prism through which to see the three Manons, to best highlight the peculiarities and differences of each. Manon, Manon, Manon… there could only be one; one show over three nights, united by a fil rouge.

The prism through which we will observe our Manons will be the cinema, more specifically, French cinema. Three Manons, three composers, one source: Prévost. A source who himself is very French, anchored in the Enlightenment, in the social satire of the moralist Beaumarchais, in the libertinism and corruption of the dissolute Marquis de Sade. What better than the lens of the cinema to follow the couple on their adventures, on their passionate romance, in the paradoxes of their souls, in their attraction to pleasure, and ultimately in their decline? Three Manons, three eras of French cinema, each with its power, its specificities, and its appeal.

The perspective taken for Puccini will be the “poetic realism” of 1930s French cinema; for Massenet, Brigitte Bardot and women’s emancipation in 1960s Paris; for Auber, silent film

The perspective taken for Puccini will be “poetic realism” — the cinema of The Port of Shadows, similarly set in Le Havre; the cinema of Children of Paradise and The Human Beast; the cinema of Jean Gabin and Michèle Morgan. The first great movement in French sound film at the end of the 1930s, where a romantic aestheticism draws attention to dramatic elements and the dialectic is so close to that of opera. A cinema made of studio films with highly elaborate sets, featuring a characteristic aesthetic and lighting, inspired by German expressionist cinema. The voice of the Popular Front, the cinema of the city, of workers, soldiers, and prostitutes, the cinema of sweat and tears — this is its “realism.” Whereas it is “poetic” for the place that the destiny and fate of its often emarginated characters occupy in these films.

With Brigitte Bardot, we will follow the footsteps of Massenet’s Manon on the streets of 1960s Paris, an emblem of women’s emancipation and sexual freedom. BB, the deceptively guileless, emancipated woman; BB, the anti-conformist femme fatale. With her tousled hair and bare feet, her skimpy clothes and sulking pout, with her carefree ways and savage side, her unfailing bluntness and rebel soul, her apparent sexuality — who better than Bardot to embody the temptation of lust and sin?

And what better than silent film to capture Auber’s Manon in all her fragility and naivety? What better way to portray the most delicate, the most fragile, the most “old-fashioned” of the three Manons? With the French cinema that pioneered the art form, namely that of Georges Méliès and Alice Guy — yes, a woman, one totally forgotten now, but without a doubt the first woman film director, possibly the first director ever in the history of cinema. On 28 December 1895 in Paris, cinema was born, when the Lumière brothers gave the first public commercial screening in history, showing an actuality film taken from life, and not yet from fiction. Just under a year later, on 7 November 1896, the first public screening in Italy was given in Turin, using the cinématographe Lumière. Cinema in Italy was first French, and then Torinese. Auber’s Manon will therefore be “silent.” In a certain sense, it will form the link between our project and Turin, a city marking the birthplace of much of Italian cinema, where the first film studios and movie theatres were opened, a city that has given us productions of worldwide renown. Turin, a city that possesses one of the greatest cinema museums ever, featuring one of the most important collections in the world.

The circle is complete.

Our project is so fitting for Turin, the city marking the birthplace of much of Italian cinema, of the first film studios, and the first movie theatres

Massenet feels it as a Frenchman, with face powder and minuets. I shall feel it as an Italian, with a desperate passion

Arnaud Bernard Director

GIACOMO PUCCINI MANON LESCAUT

Manon Lescaut

MUSIC BY GIACOMO PUCCINI

Opera in four acts

Libretto by Luigi Illica, Domenico Oliva, and Marco Praga from the novel Histoire du Chevalier Des Grieux et de Manon Lescaut by Antoine-François Prévost

It was the Teatro Regio that opened the doors to Puccini’s rising star when in 1893 it staged the world premiere of his Manon Lescaut. The Tuscan-born composer was just thirty-two years old at the time, with two operas to his name that had received only lukewarm success. With this new opera, he was out to prove his worth, competing with one of the most successful opera composers of the time, Massenet, who in 1884 had composed a widely acclaimed work, inspired by the novel written one and half centuries earlier by the Abbé Prévost: Histoire du chevalier Des Grieux et de Manon Lescaut. A story that had thrilled generations of readers with its various episodes of a libertine flavour, and with its intriguing heroine, a villainous seductress who is oblivious to the harm she causes.

In Puccini’s hands, the story of Manon, an eighteenth-century femme fatale hopelessly in love with the student Des Grieux, but also with a life of luxury, becomes a compelling, fastpaced drama. One which unfolds through a succession of contrasting vignettes — from the idyll of their falling in love, amid the chorus of voices singing the praises of youth and love, to the sumptuous Parisian apartment where Manon, as Geronte’s mistress, lives the life of high society, to the bleak picture of the young woman in chains, sentenced to deportation to America for prostitution. Only the celebrated, ever-so poignant symphonic intermezzo gives a short respite before the tragic finale. Puccini wrote he felt the drama “as an Italian, with a desperate passion.” A passion that in the music to Des Grieux’s plea, “No! no!... pazzo son!” or Manon’s lament, “Sola... perduta, abbandonata,” he takes to truly heart-wrenching depths.

ROLES CAST

Manon Lescaut soprano Erika Grimaldi / Dinara Alieva (3, 23)

Renato Des Grieux tenor Andeka Gorrotxategui / Carlo Ventre (3, 23)

Lescaut baritone Alessandro Luongo

Geronte di Ravoir bass

Carlo Lepore

Edmondo tenor Giuseppe Infantino

A lamplighter

Didier Pieri and the Dance Master tenor

A singer mezzosoprano Martina Baroni

Orchestra conductor

Renato Palumbo

Director Arnaud Bernard

Associate Director

Marina Bianchi

Set designer Alessandro Camera

Costume designer

Carla Ricotti

Lighting designer Fiammetta Baldiserri

Chorus master Ulisse Trabacchin

Teatro Regio Torino Orchestra and Chorus

New staging by Teatro Regio Torino

SEPTEMBER 2024

Sunday 29th 3 p.m. Under30 Preview

OCTOBER 2024

Tuesday 1st 7 p.m. Series A

Thursday 3rd 8 p.m.

Sunday 6th 3 p.m. Series C

Saturday 12th 3 p.m. Series F

Friday 18th 8 p.m. Series B

Wednesday 23rd 3 p.m.

Saturday 26th 8 p.m. Series D

Kids Playtime will be organized during this show.

JULES MASSENET MANON

Manon

MUSIC BY JULES MASSENET

Opera in five acts and six tableaux

Libretto by Henry Meilhac and Philippe Gille from the novel Histoire du Chevalier Des Grieux et de Manon Lescaut by Antoine-François Prévost

“Let’s make the most of youth, we will not be twenty forever!” Such is the motto of Manon, a sinner without malice, flighty and impulsive, the inspiration of one of Jules Massenet’s greatest operas. Manon is a beautiful young woman whose parents have chosen to send to a convent. Fate, however, has other things in store for her, when she meets the Chevalier Des Grieux, a student from a noble family but of poor means.

The two fall in love and elope to Paris together, where a cruel ending awaits, as Manon, with her taste for luxury, draws Des Grieux into a spiral of moral degradation.

Similarly inspired by Prévost’s novel, Massenet’s Manon premiered at the Opéra-Comique in Paris in 1884. It was an immediate, overwhelmingly popular success, with the audience repeatedly calling out the singers and composer for encores and curtain calls. Massenet’s orchestral mastery is given full expression in the very different and compelling atmospheres he creates — festivities on the street, the mystical air of the Church of Saint-Sulpice, the squalidness of a gambling house. In the score we find frivolous local eighteenth-century coloratura and brilliant comic streaks, which counterbalance the emotional intensity of the story. Dominating the scene is Manon, whose transformation is conveyed with exquisite subtlety through memorable melodies — from the innocence of “Voyons, Manon plus de chimère,” to the sensuality of “N’est ce plus ma main,” to the hopeless resignation of the finale.

ROLES CAST

Manon Lescaut soprano Ekaterina Bakanova / Martina Russomanno (16)

Lescaut baritone

Le Chevalier des Grieux tenor

Björn Bürger / Maxim Lisiin (16)

Atalla Ayan / Andrei Danilov (16)

Le Compte des Grieux bass Roberto Scandiuzzi / Ugo Rabec (16)

Guillot de Morfontaine tenor Thomas Morris

Monsieur de Brétigny baritone Allen Boxer

Poussette soprano

Javotte mezzo-soprano

Rosette mezzo-soprano

Innkeeper baritone

Orchestra conductor

Director

Associate Director

Set designer

Costume designer

Lighting designer

Chorus master

Olivia Doray

Marie Kalinine

Lilia Istratii

Yoann Dubruque

Evelino Pidò

Arnaud Bernard

Stephen Taylor

Alessandro Camera

Carla Ricotti

Fiammetta Baldiserri

Ulisse Trabacchin

Teatro Regio Torino Orchestra and Chorus

New staging by Teatro Regio Torino

OCTOBER 2024

Wednesday 2nd 8 p.m. Under30 Preview

Saturday 5th 7 p.m. Series A

Sunday 13th 3 p.m. Series C

Wednesday 16th 3 p.m.

Sunday 20th 3 p.m. Series F

Friday 25th 8 p.m. Series B

Tuesday 29th 8 p.m. Series D

Kids Playtime will be organized during this show.

DANIEL AUBER MANON LESCAUT

Manon Lescaut

MUSIC BY DANIEL-FRANÇOIS-ESPRIT AUBER

Opéra-comique in three acts

Libretto by Eugène Scribe from the novel Histoire du Chevalier Des Grieux et de Manon Lescaut by Antoine-François Prévost

From the 1830s to 1850s, Daniel Auber and his librettist Eugène Scribe were true superstars of French opéra comique. The secret to their success? Stories in which the characters fumble their way through growing adversity, stumbling through incredible plot twists and turns, set to light-hearted music marked by irresistible melodies. One of the pair’s most enduring successes was their 1856 opera Manon Lescaut, based on the novel by the Abbé Prévost.

As the prurient elements of the story made it unsuitable for the respectable audiences of mid-nineteenth century theatres, Scribe transformed Manon into a frivolous young woman, who sincerely falls in love with Des Grieux but has the misfortune to always find herself in the wrong place at the wrong time. Manon’s part was written for a coloratura soprano with the bravura to deliver “C’est l’histoire amoureuse,” renowned as the “éclat de rire,” or laughing aria, for it sharp, shrill laughs. The opera and the original novel converge only in their endings, where Manon is deported and dies of hardship in a wasteland — never before had a work for the Opéra Comique featured such a tragic conclusion.

ROLES CAST

Manon Lescaut soprano Rocío Pérez / Marie-Eve Munger (19, 24)

Le Marquis d’Hérigny baritone

Lescaut bass

Des Grieux tenor

Armando Noguera / Gurgen Buveyan (19, 24)

Francesco Salvadori

Sébastien Guèze / Marco Ciaponi (19, 24)

Madame Bancelin mezzo-soprano Manuela Custer

Renaud baritone

Marguerite soprano

Gervais tenor

Guillaume Andrieux

Lamia Beuque

Anicio Zorzi Giustiniani

Monsieur Durozeau bass Paolo Battaglia

Orchestra conductor

Guillaume Tourniaire

Director Arnaud Bernard

Associate Director

Set designer

Costume designer

Lighting designer

Chorus master

Yamal das Irmich

Alessandro Camera

Carla Ricotti

Fiammetta Baldiserri

Ulisse Trabacchin

Teatro Regio Torino Orchestra and Chorus

New staging by Teatro Regio Torino

OCTOBER 2024

Tuesday 15th 8 p.m. Under30 Preview

Thursday 17th 7 p.m. Series A

Saturday 19th 3 p.m. Series C

Tuesday 22nd 8 p.m. Series B

Thursday 24th 8 p.m. Series D

Sunday 27th 3 p.m. Series F

Tickets

GIFT CARDS

The new Gift Card is a prepaid voucher for the purchase of tickets to any show on the programme — the perfect gift idea for any occasion! Gift cards can be purchased online or from the Teatro Regio Box Office, selecting the desired amount (minimum €10 to maximum €300). A gift code will be sent to the email address provided at the time of purchase.

Gift Cards can be used for a maximum twelve months following the issue date and are valid for the purchase of one or more show tickets, for up to the nominal value. If the amount payable is higher than the amount available on the Gift Card, the residual amount can be paid using another of the payment options provided.

SALES

Tickets to Manon “triptych” shows will go on sale on Monday, 25 March 2024

- online at www.teatroregio.torino.it and www.vivaticket.it

- directly at the Teatro Regio Box Office and from Vivaticket outlets

CONCESSIONS

- Under 30s: discount of approx. 20% off the full ticket price.

- Regio Card Giovani holders: see the benefits offered in the section Teatro Regio for All on page 31.

- Groups: discount of approx. 10% off the full ticket price for groups of at least twenty people.

- Subscription ticket holders: discount of approx. 10% off the full ticket price for Manon “triptych” subscription ticket holders. Reduced-price tickets and subscriptions can only be used by people eligible for the discounts. Ticket holders may be requested to show proof of eligibility and ID at the entrance to the theatre. If they are not found to be eligible for the discount, the full ticket price will have to be paid.

DISABLED PATRONS

For wheelchair-bound patrons and their helpers, the ticket price is discounted to €15 (for Series A shows, €20). For other disabled patrons purchasing a ticket in the stalls, a discount of approx. 10% applies to the ticket price, with complimentary admission for a helper.

Subscription Tickets & 3Manon Carnets

SUBSCRIPTION TICKET RESERVED SEAT

3MANON CARNET

SERIES A OTHER SERIES WITH ONE OPENING NIGHT NO OPENING NIGHT

FULL UNDER 30 FULL UNDER 30 FULL UNDER 30 FULL UNDER 30

SECTOR A € 288 € 230 € 189 € 151 € 222 € 178 € 189 € 151

SECTOR B € 207 € 166 € 153 € 122 € 171 € 137 € 153 € 122

SECTOR C € 99 € 79 € 90 € 72 € 93 € 74 € 90 € 72

RESTRICTED

To best enjoy all three productions of the Manon “triptych” and fully appreciate how the three great composers explore and colour such a unique heroine, various ticketing options have been prepared.

- Choose a subscription ticket to reserve the same seat and enjoy a sensational 40% discount off the total price for three single tickets; this option lets you select your preferred seat on the dates of your selected series.

- Choose the 3Manon Carnet to choose your preferred dates for the selected seating sector, with the same 40% discount applied.

For patrons who cannot make it to one of the shows, their subscription ticket or carnet may be used by another person.

PART PAYMENT SOLUTIONS

Subscription tickets and 3Manon Carnets can be purchased on part-payment solutions from the Teatro Regio Box Office or online via PayPal or Klarna.

SALES

Subscription tickets with reserved seating: on sale from Friday, 23 February until the date of the first show for the chosen series.

3Manon Carnets: on sale from Monday, 25 March until the date of the first show included in the carnet.

Series Calendar

OCTOBER 2024

Series A

Tuesday 1st 7 p.m. Manon Lescaut Puccini

Saturday 5th 7 p.m. Manon Massenet

Thursday 17th 7 p.m. Manon Lescaut Auber

Series B

Friday 18th 8 p.m. Manon Lescaut Puccini

Tuesday 22nd 8 p.m. Manon Lescaut Auber

Friday 25th 8 p.m. Manon Massenet

Series C

Sunday 6th 3 p.m. Manon Lescaut Puccini

Sunday 13th 3 p.m. Manon Massenet

Saturday 19th 3 p.m. Manon Lescaut Auber

Series D

Thursday 24th 8 p.m. Manon Lescaut Auber

Saturday 26th 8 p.m. Manon Lescaut Puccini

Tuesday 29th 8 p.m. Manon Massenet

Series F

Saturday 12th 3 p.m. Manon Lescaut Puccini

Sunday 20th 3 p.m. Manon Massenet

Sunday 27th 3 p.m. Manon Lescaut Auber

Sector A

Sector B

Sector C

Restricted view seating

Information for Patrons

ADDITIONAL COSTS

FOR ONLINE PURCHASES

Booking fees apply to all online ticket purchases. Online purchases through the website www.vivaticket.it are charged an additional service fee. In the event that a show is cancelled, booking fees and additional service fees are not refundable.

SHOW CANCELLATIONS

In the event that a show is cancelled, tickets to the cancelled show and relative subscription coupons will be refunded, less booking fees, upon request, to be made exclusively within seven days from the date of the cancelled show.

Depending on the purchase method, refund requests should be addressed to:

- richiestarimborsi

@teatroregio.torino.it (if purchased at the Box Office)

- or online, via Vivaticket website: shop.vivaticket.com

/ita/rimborsi (if purchased online or at Vivaticket outlets).

The value of the subscription coupon will be calculated by dividing the cost of the subscription by the number of shows to which it entitles admission.

DATE CHANGE REQUESTS

Holders of subscription tickets with reserved seats shotuld contact the Box Office to request the transfer of a coupon to another show date not included in their series. Transfers will only be made within the same seating sector, depending on availability. A charge of €5 applies for the service. Date changes can only be requested within one week before the show date and not before the month preceding the date.

LOST SUBSCRIPTION COUPONS

Subscription ticket holders can request a duplicate of a lost show coupon at the Box Office. A charge of €5 applies for the service.

NO TRANSFERS OF TICKETS

Tickets are valid exclusively on the show date for which they are issued. Unused tickets will not be refunded or transferred to another date.

PROGRAMME CHANGES

Teatro Regio Management reserves the right to make changes to the programme, as required for technical or artistic reasons or force majeure. Updates and any changes to the programme will be announced and published without delay on the Teatro Regio website.

CARTA DEL DOCENTE CREDIT

Credit assigned to Carta del Docente holders may be used for the purchase of show tickets, cards, and subscriptions at both the Box Office and for online sales.

PROMOTIONS

Teatro Regio Management reserves the right to activate promotional offers over the course of the season.

NEWSLETTER

Sign up for the Regio Newsletter to stay up to date on all the theatre’s initiatives and promotional offers.

DISABLED ACCESS

The Teatro Regio provides barrier-free access and priority entrance for disabled patrons. The Teatro Regio concert hall has six wheelchair seating locations; the Piccolo Regio Puccini hall has two wheelchair seating locations. For assistance, please ask the theatre staff.

SURTITLES

Surtitles are screened for all operas in the original language and in Italian. For Italian-language operas, surtitles are screened in Italian and English.

Teatro Regio for All

UNDER 30 — PREVIEWS

The Teatro Regio stages special opera previews for patrons under thirty years of age. A thrilling opportunity for young people to experience the Teatro Regio like never before, to share a drink with friends and enjoy the opera together, with special events after the show.

Tickets are strictly personal and go on sale fourteen days before the show at a price of €10. Anteprime Giovani tickets can be purchased at the Box Office and online through the Teatro Regio website.

REGIO CARD GIOVANI 18-35

If you are aged between eighteen and thirty-five, come join our community! With the Regio Card Giovani you have:

- access to exclusive offers

- updates on theatre life and initiatives not to be missed

- a 50% discount off the price of sector C tickets, in the seven days leading up to each show (until sold out)

- last-minute tickets at a price of just €20, on sale as of 1 p.m. on the day before each show

The Regio Card Giovani and tickets purchased with the card are strictly personal and cannot be transferred.

KIDS PLAYTIME

Fun music and theatre workshops for kids, for parents to sit back and enjoy the show! For many parents, it is not easy to “reconcile” their passion for the opera with parenting responsibilities, which is why we believe a greater focus on the needs of parents should be part of the social function of the theatre.

Access to Kids Playtime is reserved for bookings made in advance at the Teatro Regio Box Office or online on the Teatro Regio website. Kids Playtime workshops are organised during the first Sunday show of each opera title staged at the Teatro Regio. The workshops open at 2:30p.m. and run until the end of the show, with space to host a maximum of thirty children aged between six and ten years. Kids Playtime is offered at a charge of €10 per child.

Ticket Sales Credits

TEATRO REGIO BOX OFFICE

Piazza Castello 215 - Torino Tel. +39.011.8815.241 / 242 biglietteria@teatroregio.torino.it

Opening hours:

Monday–Saturday, 11 a.m. to 7 p.m.

Sunday 10:30 a.m. to 3:30 p.m.

One hour before show times

The Box Office accepts payments by credit card, debit card, Satispay, and in cash.

OTHER TICKET OUTLETS

Vivaticket outlets

See the list of outlets on the web page: shop.vivaticket.com/ita/ricercapv teatroregio.torino.it

Published by the Teatro Regio Media & Communications Department

Opera presentation texts by Liana Püschel

Graphic design and page layout Undesign | undesign.it

Photographs:

Jean Gabin and Simone Simon in The Human Beast (La Bête Humaine, directed by Jean Renoir, 1938); Arletty in Daybreak (Le Jour se Lève, directed by Marcel Carné, 1939); Brigitte Bardot in The Truth (La Vérité, directed by Henri-Georges Clouzot, 1960); Dolores Costello in Little Lord Fauntleroy (directed by John Cromwell, 1936); Jean Gabin and Michèle Morgan in The Port of Shadows (Le Quai des Brumes, directed by Marcel Carné, 1938).

Translation by Antonella Emmi

Texts © Teatro Regio Torino

Images © Alamy / IPA

Advertising - Tel. 011.8815.711 marketing@teatroregio.torino.it

First edition

General Calendar

Puccini Under30 Preview Massenet Auber

Sunday 29th 3 p.m. Under30 Preview Puccini

Tuesday 1st 7 p.m. Series A Puccini

Wednesday 2nd 8 p.m. Under30 Preview Massenet

Thursday 3rd 8 p.m. Puccini

Saturday 5th 7 p.m. Series A Massenet

Sunday 6th 3 p.m. Series C Puccini

Saturday 12th 3 p.m. Series F Puccini

Sunday 13th 3 p.m. Series C Massenet

Tuesday 15th 8 p.m. Under30 Preview Auber

Wednesday 16th 3 p.m. Massenet

Thursday 17th 7 p.m. Series A Auber

Friday 18th 8 p.m. Series B Puccini

Saturday 19th 3 p.m. Series C Auber

Sunday 20th 3 p.m. Series F Massenet

Tuesday 22th 8 p.m. Series B Auber

Wednesday 23rd 3 p.m. Puccini

Thursday 24th 8 p.m. Series D Auber

Friday 25th 8 p.m. Series B Massenet

Saturday 26th 8 p.m. Series D Puccini

Sunday 27th 3 p.m. Series F Auber

Tuesday 29th 8 p.m. Series D Massenet