Carmen at the Royal Danish Opera and the debut at Teatr Wielki in Warsaw with Tosca by Puccini and at Odeon of Herodes Atticus in Athens with a new and emotional production of Madama Butterfly signed by Olivier Py.
Ancora Carmen all’opera di Copenaghen e il debutto al Gran Teatro di Varsavia con Tosca di Puccini e all’Odeon Herodes Atticus di Atene con una nuova e emozionante produzione di Madama Butterfly firmata da Olivier Py.
Still cancellations due to the pandemic or the lack of funds to sustain the opera world after such a long period of changes.
But this year sees a long-awaited coming back to the Royal Opera House in Stockholm with a modern Aida.
Then, finally, the long waited and many times postponed debut at the Semperoper Dresden and at the Royal Danish Opera as Don José in Carmen by Bizet.
The pandemic situation goes on and the artwork field continues to be under lockdown with a few brave attempts of reopening by some opera houses that tried to launch a new beginning for the opera world with a tremendously limited number of people in the audience or live streaming productions.
Half a debut happened at Alte Oper Frankfurt with no audience in the hall. The performance changed at last to follow the strict rules against the spread of the virus and just one performance was done and sent to the television channels in live streaming.
Théâtre de La Monnaie de Munt is one of the most active opera houses in Europe and tries at all costs to keep a new, interesting, and controversial production of Tosca signed by the young director Rafael Villalobos.
The year ends with the coming back to the Finnish National Opera in Helsinki singing Cavaradossi staged by Christof Loy in 2018 but with a renewed cast.
The year starts with a beautiful production of Un ballo in maschera by Verdi at Bolshoi Theater in Moscow followed by a debut at Opéra de Rouen with a new and fresh production of Tosca by Puccini.
But this is the year in which the little and dangerous virus COVID-19 stops the world destroying several jobs especially the work field of art that stays frozen for a longer period.
Canceled productions, opera houses in lockdown, and artists at home without proper help from the state.
He comes back to Bruxelles in the newly renovated Théâtre de la Monnaie de Munt with one of the most demanding roles in his repertoire, Enzo Grimaldi in La Gioconda by Ponchielli. In February and March he is back at Kungliga Operan in Stockholm for a new run of Puccini’s La Bohème. In June he comes back to Bolshoi Theater in Moscow with his signature role in Carmen.
In September he is back at Teatro Real in Madrid for his debut of Don Carlo by Verdi in the five act version.
The most important moment of the season is his debut at Metropolitan Opera in New York with Madama Butterfly by Puccini.
Andrea ends his year with an unforgettable return, after ten years, to the Teatro Regio in his hometown in an exciting production of Carmen directed by Steven Medcalf and conducted by G. Sagripanti.
He comes back to the Royal Opera House in London in a new production of Carmen staged by Barry Kosky and then returns to the USA with his house debut at Michigan Opera Theater in Detroit with Cavaradossi in Puccini’s Tosca.
With the same role he is back in Italy, debuting in one of the most important theater of the world, Teatro Regio in Parma.
A few months later, with this same role, Andrea has his debut at Kansallisooppera the Finnish national opera in Helsinki with an unforgettable production signed by the famous German director Christof Loy and conducted by P. Fournillier.
He is back at Kungliga Operan in autumn with a new production of Aida and he ends his year with one of the much anticipated moments of his career, his Wiener Staatsoper debut with the historic and the world’s oldest production of Madama Butterfly.
2017 is an exciting and demanding year with many performances of Fedora, and the role debut of Števa in Jenufa by L. Janacek at Kungliga Operan in Stockholm.
In the same theater he also debuts Rodolfo in Puccini’s Bohème.
In May he has his third role debut of the year as Radames in Aida at Opéra La Monnaie de Munt in Bruxelles.
In the same year he has his debut to one of the most important stages in the world, Teatro Real in Madrid where he sings in two productions: Madama Butterfly by Puccini and his signature role of Don José in Carmen by Bizet.
In December he has another theater debut at Palau des Arts in Valencia in the title role of Don Carlo together with a dream cast: Placido Domingo, Violeta Urmana, Maria José Siri, Alexander Vinogradov and Marco Spotti.
Makes his debut at the NCPA in Beijing as Enzo Grimaldi, in a new production of La Gioconda by Ponchielli.
He sings the title role of Don Carlo at Bolshoi Theater and also in a new production by Robert Carsen at the Opèra du Rhin in Strasbourg. During the summer he makes two other important debuts: the first as Osaka in Iris by Mascagni at Festival de Radio France, alongside the soprano Sonya Yoncheva, and the second as Radames in Aida at Tanglewood Festival with the Boston Simphony Orchestra, alongside the soprano Kristine Opolais.
He makes his fourth debut in the year as Loris Ipanov in Fedora by Giordano at the Royal Swedish Opera of a new production by Christof Loy.
He conquers the audiences of the Royal Opera House in London when he replaced an indisposed Jonas Kaufmann in the last performance of the famous production of Carmen by Francesca Zambello. Then he sings the role of Pollione in two new productions of Bellini’s Norma: one at the Gran Teatre del Liceu in Barcelona and the other at the Opéra National de Bordeaux. He sings as well the role of Giasone in a new production of Medea directed by Christof Loy at the Gran Théatre de Genève.