Grand Théâtre de Genève tickets 3 February 2026 - L’italiana in Algeri | GoComGo.com

L’italiana in Algeri

Grand Théâtre de Genève, Geneva, Switzerland
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7:30 PM
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US$ 109

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You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Geneva, Switzerland
Starts at: 19:30
Intervals: 1
Duration: 2h 50min
Sung in: Italian
Titles in: French,English

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Mezzo-Soprano: Gaëlle Arquez (Isabella)
Tenor: Maxim Mironov (Lindoro)
Conductor: Michele Spotti
Choir: Grand Théâtre de Genève Chorus
Bass: Nahuel di Pierro (Mustafà)
Orchestra: Orchestre de la Suisse Romande
Baritone: Riccardo Novaro (Taddeo)
Creators
Composer: Gioachino Rossini
Composer: Luigi Mosca
Poet: Angelo Anelli
Director: Julien Chavaz
Overview

An Italian girl in Algiers, a Turk in Italy, an American in Paris, or worse, in Japan… But where are we going? Lost between worlds, though, Rossini was not. Straddled between musical and political periods, post-feudal Papal States, the Napoleonic wars and the emerging idea of nation-states, on the other hand – yes! The birth of the bourgeoisie and changing social mores quickly became the focus of attention for a young Rossini as talented as he was precocious, and who quickly swapped the heaviness of heroic drama and ancient tragedy for an opera bouffa as light as zabaglione.

The son of a father who was half-butcher, half-cornettist and above all member of the Resistance who constantly moved his family from town to town – from Pesari to Ferrara and then to Bologna – to evade prosecution by the papal state henchmen, and of an opera-singer mother, Gioacchino Rossini was a 21 year old already with ten operas under his belt when he took just 28 days to compose his political satire, The Italian Girl in Algiers, which culminates and fulminates in the ironic, far-fetched and absurd finale of the ‘Pappataci’ – an honorary title invented specially for the occasion, far removed from any heroism and in keeping with the tradition of Marivaux in his The Island of Slaves.

In a proto-Risorgimento-like spirit, the composer simultaneously overturned masters and slaves, codes and references, imitations and imitated, nationalisms and exoticisms. From from pastiche to self-pastiche, in a musical kingdom of allusion and quotation that he would cultivate until his death, he became the master of the game of inversions and of the carnivalesque tradition adored by Venice. So then, a work that is carnivalesque as defined by Bakhtine, i.e. comprised of a mixture of opposites (serious- comic, sublime-vulgar, oppressed-liberated), and comprised of “intercalary genres” – parodies and caricatured quotations from a “lost” tradition; which the author, while mastering and devaluing, would triumph over by reinventing the genre.

Comic works hold no fear for French-speaking Swiss director Julien Chavez, and especially not if they have a critical or subversive edge to them. He managed to make us wince in Peter Eötvös’s The Golden Dragon, which the Grand Théâtre presented in 2022 at the Comédie de Genève, as part of its La Plage season. Now he’s taking over the Bâtiment des Forces Motrices to change the exoticism-tainted Marivaudages into an absurdist imaginary world at the genre crossroads. We’re counting on his artistry to liberate the dichotomous myth from the eschatology of revolution, aided by the Rossinian irony revealed by young conductor and bel canto specialist Michele Spotti, the seductive beauty and finesse of French mezzo-soprano Gaëlle Arquez as Isabella, opposite the agile bass and charismatic presence of Nahuel di Pierro as Moustafa, and the clear, light bel canto tenor of Maxim Mironov in the role of the lover Lindoro.

History
Premiere of this production: 22 May 1813, Teatro San Benedetto, Venice

L'Italiana in Algeri (The Italian Girl in Algiers) is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.

Synopsis

Place: Algiers
Time: The past

Act 1

The palace of the Bey of Algiers

Elvira accompanied by her slave Zulma regrets the loss of the love of her husband, the Turkish Bey Mustafà. Left alone with Haly (since the Italian 'h' is silent, this corresponds to the name Ali, more familiar in the English-speaking world), Captain of the Corsairs, Mustafà reveals his plan to marry Elvira off to Lindoro, his Italian slave. The Bey is bored with his submissive harem, desiring a new challenge to his virility: he wants an Italian girl, and Haly must find one! Lindoro enters alone and sings about Isabella, his true love (Languir per una bella). Mustafà comes in to explain Lindoro's impending marriage. The enthusiastic Bey describes the attractions of the match, while Lindoro struggles to refuse (Se inclinassi a prender moglie).

The seashore

A ship has been wrecked in a storm. Its passengers include Isabella, in search of Lindoro, and Taddeo, her travelling companion and would-be lover. Isabella enters with a sorrowful cavatina Cruda sorte! Amor tiranno!, however she is not afraid (Già so per pratica) and will master the situation. Haly and his men take them prisoner. She passes off Taddeo as her uncle. Haly is delighted to learn she is an Italian – exactly what the Bey wanted! Left to consider their fate, Isabella is irritated by Taddeo's jealousy of Lindoro (Ai capricci della sorte), but they resolve to join forces.

The palace

Back in the palace, Lindoro and Elvira do not wish to marry, but Mustafà offers Lindoro passage on a ship returning to Italy if he takes Elvira. Lindoro agrees, admitting a vague possibility of marrying her in Italy. Haly enters with news of the arrival of the Italian beauty. Mustafà is elated (Già d'insolito ardore nel petto agitare).

Surrounded by eunuchs (Viva, viva il flagel delle donne), Mustafà receives Isabella in a grand hall. He is enchanted, though she is rather amused by his appearance (Oh! Che muso, che figura!). At that moment, Lindoro, Elvira and Zulma arrive to say goodbye to Mustafà (Pria di dividerci da voi, Signore). Lindoro and Isabella are astonished to come face to face. Recovering herself, Isabella asks about Elvira, learning she is Mustafà's ex-wife, to be remarried to Lindoro! The act ends with an ensemble of confusion (Confusi e stupidi).

Act 2

In the palace

Elvira and Zulma (who have remained in Algiers after all) note Isabella's skill with men. Mustafà reveals his strategy for seducing Isabella: he installs Lindoro as Isabella's servant and his informer, and Taddeo will also be induced to help. Elvira and Zulma must tell Isabella he is coming to take coffee with her.

Isabella and Lindoro are alone. He explains that he had no intention of marrying Elvira. They agree to escape together and Lindoro sings of his happiness (Ah come il cor di giubilo). Mustafà enters with a reluctant Taddeo, acclaimed by the Turks as "Lord Kaimakan" (Viva il grande Kaimakan). He dislikes interceding with Isabella for the Bey, but is frightened to refuse (Ho un gran peso sulla testa).

In her apartment

Isabella is dressing in Turkish style. Zulma and Elvira deliver Mustafà's message: he is coming for coffee. Isabella orders three cups. Elvira should wait in a side room. As Mustafà approaches, Isabella sings a romantic cavatina, Per lui che adoro - she will receive him. Mustafà tells Taddeo to leave when he sneezes (Ti presento di mia man). Isabella greets Mustafà warmly and he sneezes, but Taddeo ignores the signal. Isabella calls for coffee and then – to Mustafà's horror and amazement – invites Elvira to join them.

Elsewhere in the palace

Haly sings in praise of the women of Italy (Le femmine d'Italia). The Italians enter, and Taddeo reveals to a surprised Lindoro that he is not her uncle but her lover (he himself is unaware of the other man's true identity). Lindoro tells Mustafà that Isabella will declare him her adored pappataci (literally a "silent eater": a man unable to resist the opposite sex). This, as Lindoro explains (Pappataci! Che mai sento!), is an Italian custom and a great honour, as the pappataci enjoy an idyllic life dedicated to eating, drinking and sleeping. Zulma and Haly speculate about Isabella's real intentions and the quantity of alcohol ordered for the ceremony.

Isabella's apartment

She addresses the Italian slaves who will be pappataci in the ceremony - she will lead them to freedom (Pensa alla patria). The ceremony begins (Dei pappataci s'avanza il coro); Mustafà is delighted with his new honour and changes into appropriate costume. Isabella explains his obligations. He must swear an oath of eating, drinking, and keeping silent, repeating the words after Taddeo. Following that his oath is tested, under provocation by Isabella and Lindoro.

A European ship lies alongside the palace: time to escape! Taddeo finally realizes who Lindoro is, but decides to go along with them anyway. Elvira, Zulma and Haly find the Bey still acting as a mad pappataci. Suddenly recovering his sanity, Mustafà calls his troops but they are all drunk. The Italians bid farewell and Mustafà begs Elvira's forgiveness. No more Italian girls for him!

Venue Info

Grand Théâtre de Genève - Geneva
Location   Boulevard du Théâtre 11

Grand Théâtre de Genève is the main opera house of Geneva. The venue is a majestic building, towering over Place Neuve, officially opened in 1876, partly destroyed by fire in 1951 and reopened in 1962, after extensive refurbishments, which houses the largest stage in Switzerland. As an institution, it is the largest production and host theatre in French-speaking Switzerland, featuring opera and dance performances, recitals, concerts and, occasionally, theatre.

Built in 1879, the Grand Théâtre de Genève is the largest artistic stage in Switzerland and home to the Geneva opera house and the Geneva Ballet Company. Every season, it features nine performance runs of opera, three of dance and a broad range of recitals and cultural, youth-friendly or festive events to develop its audience and honour its public service mission. Gutted by fire in 1951, the building and the front of house retain its original Beaux-Arts style whereas the wood-panelled auditorium, completed in 1961, seats 1500 and boasts a spectacular metalwork security curtain that extends into the ceiling, where 1200 glass stars shine as the house lights. The Grand Théâtre de Genève employs its own opera chorus of 40 singers and has an artistic partnership with the Orchestre de la Suisse Romande for its opera season. Since 2019, Aviel Cahn is the general manager of the Grand Théâtre de Genève and since 2022, the Geneva Ballet Company is directed by Sidi Larbi Cherkaoui. The Grand Théâtre de Genève was named Opera Company of the Year in 2020 (Opernwelt).

Designed by Jacques­Elisée Goss on a design by Henri Sylvestre, the Grand Théâtre de Genève opened in 1879, in a Beaux­Arts and Second Empire­style building, with a horseshoe­shaped auditorium. In 1951, there was a terrible fire, during a rehearsal of Wagner’s Walkyrie: the auditorium, stage area and roofs were destroyed. It reopened in 1962 after a reconstruction project led by Charles Schopfer, Marco Zavelani­Rossi and Jacek Stryjenski (the latter having designed the huge ceiling inspired by the Milky Way called Alto). The foyers and adjoining areas were then hurriedly restored. The stage area was modernized in 1997 and the stage decks in 2006. Between 2016 and 2019, the Grand Théâtre was closed for renovations and its activities were held at the Opéra des Nations. The Place de Neuve site underwent an architectural renovation (new rehearsal rooms and changing rooms in the basement, meeting room in the attic area), also involving security (upgrading of comfort and fire standards) and heritage items. The foyers and hallways were refurbished, tapestries repaired, damaged marble and faux marble surfaces were restored and the parquet floors recreated. Several modern improvements were introduced, such as the box office reception desks and a Milky Way­type lighting introduced in the Upper Circle and Basement bars. The building reopened on 12 February 2019 with Wagner’s Das Rheingold and an Open Doors day followed by a Mapping on the place de Neuve on 23 March 2019 gathering 14000 people.

In 1962, the Grand Théâtre de Genève acquired a permanent ballet company, made up of 22 artists, offering two original choreographic creations per season. Collaborating with choreographers of international renown, over the course of its performances, it has built a worldwide reputation for itself. Today, whilst the premieres are always held in Geneva, the Geneva Ballet frequently performs outside Switzerland (France, Italy, United States, Russia, Australia, China, Brazil, South Africa…). From the 22–23 Season, the Ballet is under the management of Sidi Larbi Cherkaoui.

Founded in 1962, the Choir of the Grand Théâtre de Genève is an ensemble of forty-two professional singers from a wide variety of nationalities.
An essential part of the artistic department of the Grand Théâtre de Genève, the Choir takes part in the productions that contribute to the institution’s renowned reputation. For certain specific productions requiring a larger ensemble, additional professional singers join the group, allowing for flexibility and adaptability according to the program’s demands.
Thanks to the quality of its performances and its dedication, the Choir of the Grand Théâtre is not only recognized for its level of excellence by the press, but its performances are also praised by directors, conductors, and audiences alike. In 2023, the Choir was once again nominated for the Opera Awards.

Important Info
Type: Opera
City: Geneva, Switzerland
Starts at: 19:30
Intervals: 1
Duration: 2h 50min
Sung in: Italian
Titles in: French,English
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