Jacopo Foroni (1824–1858)

20, 26, 29 October |  1, 4 November

Melodramma semiserio in 2 acts by Jacopo Foroni (1824–1858)

Libretto by Giorgio Giachetti, sung in Italian with English Surtitles

First performed at the King’s Theatre in Milan, 4 March 1848

Ser Matteo’s nephew Roberto wishes to marry the orphan Margherita, but she is in love with the soldier Ernesto. Ernesto’s sister Giustina arrives to tell him his regiment is leaving soon. Ernesto and Margherita decide to marry the next day. Margherita gives Ernesto a ribbon as a love token which he attaches to his cape. Ernesto’s colonel, Count Rodolfo then arrives saying he needs Ernesto’s to help him escape a duel. In the process of helping the colonel, Ernesto loses his cap. Giustina arrives to report a man has been attacked in the forest, but that she has found one of the attackers cap. It turns out to be Ernesto’s and he is arrested. Margherita arrives at the jail to argue for Ernesto’s release, but Roberto says he will only release Ernesto if Margherita gives him her hand in marriage.  In the end the Count confesses that he was the person attacked, and it was Rodolfo who attacked him. Ernesto and Mergherita are reunited and marry.

Following the success of Cristina, regina di Svezia at Wexford in 2013, acclaimed by many as one of the most worthwhile rediscoveries in the festival’s long history, we return to another of Jacopo Foroni’s operas. The clue to the previous long neglect of Foroni (1824–1858), who scarcely features in the reference books, may lie in Foroni’s early death from cholera in Stockholm, where he had taken charge of the Italian opera company in 1849, presenting his credentials that year with his opera on the tumultuous life of Queen Christina of Sweden. As that work showed, at this stage he could still have been considered a worthy rival to Verdi as the inheritor of Donizetti’s mantle, though perhaps his willingness to leave Italy suggests that his temperament lay elsewhere. Indeed, though his music brims with Italianate vitality, he was a cosmopolitan figure, aware of the symphonic tradition north of the Alps.

Margherita was, significantly, his first opera, premiered one year earlier than Cristina in front of the ‘home’ audience in Milan. It was greeted with considerable enthusiasm, not least by the influential Alberto Mazzucato, who praised ‘the good balance between seriousness and comedy [and] the moderate timbre of the orchestral sound’. As this suggests, one of its models might have been Donizetti’s L’Elisir d’amore, with which it shares a rural setting (the action of Margherita takes place in a Swiss mountain village), and the score contains folk music tinges and evokes a Romantic landscape. Classified by its composer as a ‘Melodramma semiseria’, its libretto is an adaptation of a French text by no less a figure than Eugène Scribe, originally intended for the composer Adrien Boieldieu, who died before he could finish the work. Margherita was commissioned for Milan’s Teatro Re, a small theatre near La Scala (on a site absorbed into where the city’s famous Galleria Vittorio Emmanuele stands today), and the practicalities of writing for it are reflected in the opera’s essential intimacy.

A co-production with Oldenburghisches Staatstheater

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Creative Team

Timothy Myers

United States

Previously at WFO: Conductor (Vanessa, 2016).

Previous Engagements: Conductor (Doctor Atomic, John Adams, Curtis Opera Theater), Conductor (Das Rheingold, Richard Wagner, North Carolina Opera), Conductor (Rising Stars Concert, Lyric Opera of Chicago).

Forthcoming Engagements: Conductor (Salome, Richard Strauss, Florida Grand Opera), Conductor (West Side Story, Leonard Bernstein, Houston Grand Opera), Conductor (Samson et Dalila, Camille Saint-Saëns, North Carolina Opera).

Michael Sturm


Previous Engagements: Director (Lohengrin, Richard Wagner, Saarbrücken and Luxemburg), Director (Cristina, regina di Svezia, Jacopo Foroni, Staatstheater Oldenburg), Director (Adriana Lecouvreur, Francesco Cilea, Opera House Szeged).

Forthcoming Engagements: Director (Die Meistersinger von Nürnberg, Richard Wagner, Grand Theatre Poznan).

Set and Costume Designer
Stefan Rieckhoff


Previous Engagements: Set & Costume Designer (Un Ballo in maschera, Verdi, State Theatre Saarbrücken), Set & Costume Designer (Jesus Christ Superstar, Webber, Theatre Basel), Set & Costume Designer (I Capuleti e i Montecchi, Bellini, Theatre Lübeck).

Forthcoming Engagements: Set & Costume Designer (Die Meistersinger von Nürnberg, Wagner, Theatre Wielki Poznań), Set & Costume Designer (Carmen, Bizet, State Theatre Oldenburg), Set & Costume Designer (Die Zauberflöte, Mozart, Theatre Lübeck).

Lighting Designer
D.M. Wood


Previously at WFO: Lighting Designer (Silent Night, Don Bucefalo, Salomé, 2014).

Previous Engagements: Lighting Designer (4.48 Psychosis, Philip Venables, Royal Opera House – Lyric Hammersmith; Don Giovanni, Mozart, Northern Ireland Opera); L’Heure Espagnole/Gianni Schicci, Ravel/Puccini, Boston Lyric Opera).


Conte Rodolfo
Yuriy Yurchuk

Baritone, Ukraine

Previous Engagements: Mandarin (Turandot, Puccini), Baron Douphon (La Traviata, Verdi), Yamadori (Madama Butterfly, Puccini), Royal Opera House, Covent Garden.

Forthcoming Engagements: Eugene Onegin (Eugene Onegin, Tchaikovsky, Kyiv National Opera), Ping (Turandot, Puccini, Opernhaus Zürich).

Ser Podesta
Matteo d'Apolito

Baritone, Italy

Previous Engagements: Alidoro (La Cenerentola, Gioachino Rossini, Teatro Alighieri Ravenna), Alidoro (La Cenerentola, Gioachino Rossini, Teatro del Giglio Lucca), Schaunard (La Bohème, Teatro Regio Turin).

Forthcoming Engagements: Alidoro (La Cenerentola, Gioachino Rossini, Teatro Rendano Cosenza), Alidoro (La Cenerentola, Gioachino Rossini, Teatro Municipale Piacenza).

Alessandra Volpe

Mezzo-soprano, Italy

Previous Engagements: Carmen (Carmen, Bizet, Opernhaus Zürich), Adalgisa (Norma, Bellini, Theater St. Gallen), Carmen (Carmen, Bizet, Den Norske Opera).

Forthcoming Engagements: Amneris (Aida, Verdi, Teatro Petruzzelli, Bari), Adalgisa (Norma, Bellini, Opéra de Nice), Eboli (Don Carlo, Verdi, Theater St. Gallen).

Andrew Stenson

Tenor, USA

Previous Engagements: Ernesto (Don Pasquale, Donizetti, Glyndebourne Festival), Tamino (Die Zauberflöte, Mozart, Seattle Opera), Tonio (La Fille du régiment, Donizetti, Washington National Opera).

Giuliana Gianfaldoni

Soprano, Italy

Previous Engagements: Susanna (Le Nozze di Figaro, Mozart, Opéra de Toulon), Micaëla (Carmen, Bizet, Tenerife Opera), Oscar (Un Ballo in maschera, Verdi, Ente Concerti Marialisa de Carolis Sassari).

Forthcoming Engagements: Lauretta (Gianni Schicchi, Puccini, Opéra de Montpellier), Soprano (Carmina Burana, Orff, Orchestra regionale della Toscana ORT).

Filippo Fontana


Previously at WFO: Beaupertuis (Il Cappello di paglia di Firenze, 2013), Don Bucefalo (Don Bucefalo, 2014).

Previous Engagements: Raffaele (Il medico dei pazzi, Giorgio Battistelli, Gran Teatro La Fenice), Solo (Requiem, Mozart, Teatro Lirico di Cagliari), Ambasciatore - Re (La Bella addormentata, Teatro Lirico di Cagliari).

Forthcoming Engagements: Ormondo (Torvaldo e Dorliska, Gioachino Rossini, Rossini Opera Festival), Lescaut (Manon Lescaut, Giacomo Puccini, Sarasota Opera, Florida).

Ji Hyun Kim

Tenor, South Korea

Previous Engagements: Ruodi (Guillaume Tell, Rossini, Royal Opera House), Gastone (La Traviata, Verdi, Royal Opera House), Roderigo (Otello, Verdi, Royal Opera House).