Aquiles Machado

The musical notes of this Puccini masterpiece provide the starting point and foundation for a new, highly successful collaboration between Riccardo Chailly and Davide Livermore. In their interpretation, there is “no moment, no movement, that goes against the musical meaning” (R. Chailly). The result is an energetic, authentic, and atmospherically strong Bohème, “in which every sacred phrase receives its own orchestral colour, its own dynamic and its own expression.” (Corriere della Sera)

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In Milan and Como during the month of May 1176. Milanese soldiers defend the city under the command of Rolando. He is reunited with Arrigo, his friend from Verona, who had been presumed dead in battle. Arrigo also meets Lida, his former fiancée, who, at her father’s behest, has married Rolando. Meanwhile, Rolando, who is preparing to leave for battle, is approached by Marcovaldo, a German prisoner of war, who hands him a letter from Lida for Arrigo. Rolando’s anger turns to a desire for revenge. Catching Lida and Arrigo in the middle of a conversation, he has his “rival” imprisoned in a tower. “La battaglia di Legnano” (The Battle of Legnano) is a four-act opera by Giuseppe Verdi with a libretto by Salvatore Cammarano, premiered at the Teatro Argentina in Rome on January 27, 1849. From the “Tutto Verdi” box set of 27 Verdi operas. Recorded live at the Teatro Lirico “Giuseppe Verdi” in Trieste on February 23 and 29 and March 2, 2012.

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Donna Leonora, daughter of the Marquis of Calatrava, is about to flee secretly with her lover Don Alvaro (son of the Viceroy of Mexico and an Inca princess). The Marquis bursts in unexpectedly. Alvaro hesitates to raise his weapon against his lover’s father and throws his pistol. As it falls, the pistol goes off and the Marquis is mortally wounded. As he lies dying, he curses his daughter. Don Carlo di Vargas, Leonora’s brother, resolves to avenge his sister and her fiancé for their father’s death. In the turmoil of the chase, Leonora and Alvaro lose track of one another... ‘La forza del destino’ is an opera in four acts by Giuseppe Verdi, with a libretto by Francesco Maria Piave, adapted from the play ‘Don Álvaro o la fuerza del destino’ (Spain, 1835) by Ángel de Saavedra, the Duke of Rivas. Premiered on 10 November 1862 at the Imperial Theatre in Saint Petersburg. From the box set of 27 Verdi operas “Tutto Verdi”. Recorded live at the Teatro Regio in Parma on 2 and 5 February 2011.

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Including world-class artists such as Bryn Terfel, Cecilia Bartoli, Anne Sofie von Otter, Jose Cura, Simon Keenlyside and Agnes Letestu, this 50-minute sampler will give you a taste of many beloved classics in opera and ballet.

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Madrid's legendary Teatro Real staged this production of Giacomo Puccini's seminal opera La Bohème, starring Inva Mula, Aquiles Machado and Jesús López Cobos in the principal roles. Giancarlo del Monaco directed for the stage, Michael Scott designed the sets and costumes, and The Chorus and Orchestra of the Teatro Real provide musical accompaniment.

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Giancarlo Del Monaco's passionate and intelligent production of Jacques Offenbach's magnum opus creates a climactic kaleidoscope of deep and convincing emotions. A highly credible incarnation of the pitiable Kleinzach he sings about, Aquiles Machado is the poet who loses his romantic idealism, his reflection and finally his soul to a 'trio of charming enchantresses'.

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At the end of July 2002 the time had come again. An audience of 5000 had gathered to listen to the new production of Gaetano Donizetti’s L’elisir d’amore under the direction Saverio Marconi, conducted by Niels Muus. The orchestra was seated in an enormous box that was put on the stage, while the singers, in traditional costumes by Silvia Aymonino, performed on stage in front of it, among them the young Valeria Esposito as Adina, Aquiles Machado in the role of Nemorino, Enrico Marrucci as Belcore and the very young Erwin Schrott as Dulcamara.

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Rigoletto is a jester in the court of the Duke of Mantua. He has a hunch-back and he's rather unattractive, but he's good at his job of humiliating the courtiers for the amusement of the Duke. The courtiers, of course, are not amused. The Duke is a ladies man who feels his life would be meaningless if he couldn't chase every skirt he sees. In fact, we learn as the opera begins that he's recently been noticing a young lady every Sunday on her way to church, and he's vowed to have his way with her. What nobody realizes is that the girl is the jester's beloved daughter, Gilda, and that Gilda has seen the Duke every Sunday and is smitten with him. Suddenly Count Monterone appears at court, furious that the Duke has seduced his daughter. Rigoletto ridicules Monterone, the Duke laughs, and Monterone casts an awful curse on both of them. Later, the courtiers discover that Rigoletto is secretly living with Gilda...

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