“Breathing the myth”: the concept of the sixth edition of the Lyric Festival of the Teatri di Pietra 2025, promoted by the Sicilian opera choir under the artistic direction of Francesco Costa, could not be more evocative.
The event reported the opera in the natural and monumental scenography of the ancient theaters of Sicily: the Greek theater of Syracuse (24 July), the Greek theater of Tindari (27 July) and the ancient theater of Taormina (29 July). The central title of this summer was “Aida” by Giuseppe Verdi, proposed in an unprecedented critical edition by Anselm Gerhard, staged for the first time in the world with the insertion of the “Palestrinian” choir at the beginning of act III. In the role of Amneris, an absolute protagonist: the mezzosoprano Veronica Simeoni, applauded throughout Europe for its dramatic intensity, vocal elegance and versatility.
In the role of the title, the soprano Pumeza Matshikiza, the tenor Walter Fraccaro as Radamès, and the baritone Baral Chuluunbaatar such as Amasro, musical direction of Filippo Arlia, directed by Salvo Dolce. The set -up has united philology, accessibility (thanks to the simultaneous translation in LIS in the representation of Taormina) and scenographic suggestion, becoming one of the most significant cultural events of the Italian summer. A staging that has been able to count on Veronica Simeoni’s experience and charisma, thanks to her artistic path and the interpretative vision of the Verdian repertoire, as she tells us.
– What did it mean for you to interpret Amneris in this monumental production of “Aida”, between ancient theaters and a new critical edition? –
It was a unique experience, in every aspect. Singing Amneris in places such as the Greek theater of Syracuse or the Tindari theater means confronting not only with green, but also with history and myth. The context, so full of beauty and memory, enters the breath of interpretation. The work on the critical edition of Gerhard has gone back to us deep dramaturgical shades, and Amneris emerges in all its complexity: not only the jealous princess, but a woman divided, human, true.
– The role of Amneris is often considered among the most difficult of the Verdian repertoire: vocally and psychologically. What was the biggest challenge for you in facing him?
“Amneris is a mountain to climb. Verdi entrusts her with great strength, but also fragility. The scene of the judgment in the fourth act is an absolute summit: vocally it is a proof of resistance and control, psychologically it is the breaking point of the character. The difficulty lies in keeping together with the royalty, anger, love, pain, without ever giving in to caricature. I tried to make its emotional evolution as authenticated as possible, leaving room for the drama without losing the drama. musical “.
She is one of the most popular Italian mezzosoprans internationally. How would you describe your artistic path?
“Gradual and consistent. I studied with a great teacher, Raina Kabaivanska, and my journey began with the victories at” Pavarotti “, the” Viotti “in Vercelli and the Verdian Voices competition, in addition to the recognition of Spoleto. I have since had the good fortune to work in the major Italian and European theaters: from the Fenice of Venice to the Opennhaus Zürich, from the Teatro Regio di Torino. I started with roles such as Fenena or Adalgisa, and then arrives in Charlotte, Carmen, Didon, Eboli.
– Among his roles Charlotte (Werther), Didon (Les Troyens), Adalgisa (Norma) and Carmen: what elements these characters share with Amneris and how do they influence in his interpretative approach?
“They are all strong and contradictory women. And all, in a different way, bring an inner conflict on stage. Charlotte is the duty, Didon is abandonment, Adalgisa female solidarity, Carmen is freedom, Amneris is the passion held back. I always look for the humanity of the character: the gesture, the gaze, the word that brings out their pain or their courage. Of course, but building a credible psychology around it.
– Singing in an ancient theater, between heaven and stone, influenced its interpretation? Can you tell us a moment that will bring to the heart?
“Absolutely yes. The sunset in Syracuse, with the first notes of the work that resonated between the columns, was an unrepeatable moment. The light changed, the audience seemed suspended in silence, and in that silence everything was loaded with meaning. The voice becomes part of the landscape, not only sound but a living matter between the stones. I felt a deep connection with the scene, with the past, with the public.
– Looking to the future, what roles or projects do you feel close?
“I would like to go back to interpreting Eboli and Azucena in new productions. They are two characters that I feel matured in me. Then I am fascinated by the chamber and symphonic repertoire: Berlioz, Mahler, Ravel, Britten. I had very beautiful experiences with the Lieder of Hahn and Mahler’s Rücker -ier, and I believe that this type of repertoire is a precious territory for each interpreter. Word: it is a different form, but very deep, of lyricism “.
– What advice would you give to a young singer who dreams of becoming mezzosoprano like her?
“I would say: not to be in a hurry. Studying, listening, understanding its own voca. Mezzosoprano has a vast but complex repertoire, and it is not enough to have a beautiful vocality. We need musical consciousness, psychological resistance, empathy. My advice is to form well, sing only what you are ready to face, and never stop looking for the interpretative truth. And then, so much love for music.
Veronica Simeoni’s Amneris in the lyric festival of the theaters of Pietra 2025 has left a deep imprint: a royal and human figure at the same time, vibrant of scenic force and musical refinement. In a project that has combined philological rigor, scenic innovation and cultural accessibility, its interpretation was not only central, but symbolic of a new way of understanding the work: immersed in the landscape, inspired by the mythical universe, alive in the present. A lesson of art and authenticity that confirms Veronica Simeoni among the most significant voices of the European lyrical panorama. Qusta production of “Aida”, thanks also to the first world representation of the critical edition, has become a bridge between art, history and cultural identity. And Simeoni’s interpretation emerges as a living testimony that the lyric can really “breathe the myth”.