Scuola dell'Opera Italiana

SCUOLA OPERA

ITALIANA

dell’

1

Index

page

Introduction 2

1. Why a Scuola dell’Opera Italiana? 3

2. New studies 4

3. Theory, practical, and work experience 5 3.1 Theory and practical 5 3.2 Work experience 5

4. Departments 6 4.1 Opera singers 6 4.2 Répétiteurs 10 4.3 Conductors 13 4.4 Directors 16

5. Intensive courses, master classes, summer schools 19

6. Teaching staff 20

7. Italian and international cooperation 21

8. Recordings 23

Attachments

I. Teaching staff 25

II. Staff 28

2

Introduction

The Scuola dell’Opera Italiana was founded in 2008 under the aegis of the Teatro Comunale in Bologna, and in its first three years it

has trained more than fifty young artists. These include opera singers, conductors, répétiteurs, directors, and set and costume

designers, and many of them have begun work even before completing their courses.

Conceived as a top professional training school for opera, the Scuola has developed a dense network of cooperation with theatres

and this has brought it great credit with reputed opera houses in Italy and throughout the world.

Young artists from a total of 48 different countries have attended the Scuola with a view to picking up knowledge and skills about

something specifically Italian: Italian opera

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1. WHY A SCUOLA DELL’OPERA ITALIANA?

The Associazione Opera Italiana, a professional training body accredited by the Regione Emilia Romagna in 2010, is a non profit-

making institution which pursues exclusively cultural, social, and training objectives. The main purpose of the Associazione is to

safeguard, promote, exploit, and transmit the philosophy and tradition of the aesthetic and technique of this Italian style in the

interpretation and performance of opera, and this style is an absolute cultural value.” The Associazione promotes, organises, and

manages the Scuola dell’Opera Italiana, conceived and launched under the aegis of the Teatro Comunale in Bologna.

The purpose of the Scuola dell’Opera Italiana is to guarantee good, dynamic, concentrated general and specific training for young

talents seeking to dedicate themselves to the various professions to be found in the modern opera world.

The Scuola is for young singers, conductors, répétiteurs, directors, set designers, costume designers, and lighting designers, with a

view to guaranteeing complete and coordinated training as well as bringing together the various artists working in opera.

Studies stand out due to their depth and variety, and are absolutely unique. The course also provides many master classes given by

well-known professionals and famous artists. The distinguishing thing

about the Scuola, though, is the chance it gives people to get into

the opera profession by “supplying” new talent for the “demand” in

the opera field.

The Scuola guarantees a select number of students the chance to

take part in actual operas produced by opera houses and other

theatres. Examples can be seen with the Teatro Comunale in

Bologna, Semperoper in Dresden, the Maggio Musicale in Florence,

the Teatro Lirico in Cagliari, and the Festival della Valle d’Itria in

Martina Franca.

Opportunities for showing off one’s talent on famous stages and

meeting the topmost figures from the international professional and

artistic scene is an experience every student should take advantage

of when starting out on a career in opera. G. Puccini, La rondine, Teatro Comunale di Bologna

Exhibition on stage– M° José Cura - February 2009

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2. NEW STUDIES

The programme envisages a series of compulsory, basic courses for all

sections and some specific, optional subsidiaries to allow individual

students to customise their training according to their own, personal

inclinations.

The Scuola is proud to be able to provide the necessary work

experience required by the curriculum.

Upcoming artists need opportunities to experience life on the stage

directly. Considering the level of skill and preparation of the students,

the Scuola offers opportunities to take part in actual opera

productions with partner opera companies, especially the Teatro

Comunale in Bologna. The work experience required by the Scuola

curriculum accounts for approximately 40% of all courses.

Another distinguishing characteristic of the Scuola dell’Opera Italiana

is the amount of time given over to training young opera singers as

actors. To develop acting skills and to understand what it means to stand

in front of an audience, acting lessons include the following: psychological and physical training, acting technique, acting, stylised

dancing, and the use of period weapons. The level is very high, and is guaranteed by the fact that the Scuola has signed an

agreement with the Scuola di Teatro di Bologna “Alessandra Galante – Garrone”. Everyone understands that singers must be able to

act for them to have stage presence and to help them enter into their role properly. Modern opera performances absolutely need

mature, in-depth, conscious, and irreproachable acting skills.

One further benefit offered by the Scuola is its international nature. In addition to accepting a full 65% of its students from outside

Italy, the Scuola can also count on international artists to give lessons. With a view to widening its horizons, the Scuola always tries to

establish a good working relationship with Italian and international institutions. The fact that it has been so successful in this can be

seen in the many projects which have been started and consolidated overseas.

L. van Beethoven, Fidelio Off, Teatro Comunale di Bologna

February/April 2009

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3. THEORY, PRACTICAL, AND WORK EXPERIENCE

The training programme involves classes for the theoretical side (in groups, sub-groups, or given individually). Practical lessons are

also given to provide experience of performing on stage. These practical classes are the strong point of the course, and are the best

way of applying the theory learnt in the theoretical classes.

3.1 Theory and practical classes involve:

- Key disciplines: specific, highly prestigious lessons for each individual department;

- Complementary disciplines: additional, optional lessons chosen by the student;

- Masterclasses: intensive courses given by famous artists and professionals, to perfect specific techniques in an individual

department.

3.2 Work experience involves:

- Work experience: taking part in opera and concert performances with

partner music institutions. Students may be required, depending upon

their skill levels, to perform in operas and concerts in concert halls,

which will guarantee the quality and importance of this experience

because of the many musicians and other professionals taking part.

Practical experience with productions and other performances in

theatres and concert halls.

- Theatrical and Musical workshops: inter-disciplinary opportunities to

stimulate and encourage interaction between the various

departments. In particular, these workshops involve music and stage

rehearsal under the guidance of well-known artists, and require input

from all departments at the Scuola (singers, répétiteurs, conductors,

and directors). In this way, a real esprit-de-corps is created among the

opera team.

V. Bellini, I Puritani - Teatro Comunale di Bologna - January 2009 Roles and performers of the Scuola: Lord Arturo Talbo, Ivan Magrì – Elvira, Hale Soner - Sir Giorgio,

Alexey Yakimov - Enrichetta di Francia, Giuseppina Bridelli

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4. DEPARTMENTS

The main departments at the Scuola dell’Opera Italiana are: singers, répétiteur, conductors, and directors. Each department hold its

own courses, as detailed below.

4.1 Opera singers

Characteristics and aims

This course examines certain aspects of singing technique and acting, as applicable to many different styles, in the main languages

of the Western operatic tradition. Each student:

- is accompanied and guided until he is fully aware of his vocal skills and repertoire;

- is called upon to improve his acting skills by understanding properly the physical, mental, and emotional mechanisms which often

condition him;

- will be able to come into direct contact with the professional world he wants to work in, especially the layout and functions of a

modern opera house;

- will be provided with help in those areas which is often neglected - but which are nonetheless very important - such as dealing

with stress and other negative emotions, and other medical problems often caused by living and working as an opera singer;

- will be provided with all the artistic and technical instruments necessary to understand his role properly, including seeing what life

on the stage is like and understanding what performing in front of the public really means.

Number of students admitted: 20.

Duration of course: two years, or three if required.

Terms: from November until the following October. Theoretical courses and practical courses are mostly held between November

and June.

Total hours: roughly 600 per year, 40% of which is work experience.

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Curriculum:

TECHNICAL-VOCAL AREA Year

1° 2°

Subjects Lesson hrs hrs

Respiratory biomechanics and postural rehabilitation C-I 3 -

The breathing of the opera singer C 1 -

Vocal technique: awareness of the issue I/S 46 46

Total 50 46

MUSICAL AREA Year

1° 2°


Score study and repertoire I/S - 56

Score study and performance practice I/S 44

Total 44 56

PHYSICAL-TECHNIQUE AREA (in collaboration with the Scuola di Teatro di Bologna "Alessandra Galante Garrone") Year

1° 2°


Character dance S/C 12 12

Elements of sword-fighting S/C - 12

Phonetics and diction of the Italian language C 8 -

Acting C/S/I 18 -

Acting of the opera libretto C/S/I - 28

Style and movement C 12 -

Acting technique C 40 30

Psychophysical training: emotional awareness - body C 34 30

Total 124 112

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CULTURAL AREA Year

1° 2°


Accident-prevention measures C 2 -

Information, communication, promotion C 2 -

How to fill your curriculum vitae C 4 -

Elements of employment law, administration and tax legislation C 3 -

Elements of physiology and hygiene of the phonatory apparatus C 4 -

Elements of emotional psychology C 6 -

Nutrition, food hygiene and performance C 4 -

The musical press C 2 -

The opera agent C 2 -

Organization and profession of the lyric theatre C 3 -

Makeup and wigs C 6 -

Total 38 -

MASTERCLASS Year

1° 2°

Topics Lesson hrs hrs

Recitative art and technique I: practices and achievement in the repertoire of the eighteenth century S/C 15 15

Recitative art and technique II: practices and achievement in the repertoire of the nineteenth and twentieth century S/C 15 15

The art of coloratura S/C 20 20

The Baroque style I: the ornamentation in the ‘600 S/C 15 15

The Baroque style II: the '700 and the authentic variazione S/C 15 15

Technique, interpretation and repertoire S/C 60 60

Total 140 140

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WORK EXPERIENCE Year

1° 2°

Activities Lesson. hrs hrs

Theatrical and musical workshops (musical rehearsal, stage rehearsal, antepiano) S 80 40

Stage I 140 180

Total 220 220

Total 616 574

ACTIVITIES TO COMPLEMENT Year

1° 2°


Phonetics and diction of foreign languages (French, English, German) S/I 40 40

Italian for foreigners: 1° level S 116 116


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4.2 Répétiteurs Characteristics and aims

The repétitéur is a key figure in an opera house, especially where Italian opera is performed.

The aim of this course is training répétiteur in their various roles, such as front-of-house manager, prompter, stage manager, and

lighting manager. Each student will be helped in the following:

- finding orchestra-type piano music;

- understanding techniques and codes in opera scores;

- basic directing techniques;

- a full and proper understanding of voice potential;

- a critical awareness of the Italian "style."

The last thing a repétitéur will learn is how to prepare a score so that the singers can understand its technique, voice, music, and

dramaturgy.


Duration of course: two years.

Terms: from November until the following October. Theoretical courses and practical courses are mostly held between November

and June.

Total hours: roughly 650 per year, 40% of which is work experience.

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Curriculum:

TECHNICAL-MUSICAL AREA Year

1° 2°


Practices of harmony at the piano and introductory improvisation C 30 30

Répétiteur tecniques I: musical rehearsal I 56 56

Répétiteur tecniques II: the line of singing I 28 28

Répétiteur tecniques III: the score of the stage and lights C 16 16

Répétiteur tecniques IV: elements of conducting technique C 42 42

Répétiteur tecniques V: the relationship with the conductor C 30 30

Total 202 202

CULTURAL AREA Year

1° 2°


Accident-prevention measures C 2 -

Information, communication, promotion C 2 -

How to fill your curriculum vitae C 4 -

Elements of employment law, administration and tax legislation C 3 -

Elements of physiology and hygiene of the phonatory apparatus C 4 -

Elements of emotional psychology C 6 -

Nutrition, food hygiene and performance C 4 -

The musical press C 2 -

The opera agent C 2 -

Organization and profession of the lyric theatre C 4 -

Total

33 -

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MASTERCLASS Year

1° 2°

Topics Lesson hrs hrs

Recitative art and technique I: practices and achievement in the repertoire of the eighteenth century C 15 15

Recitative art and technique II: practices and achievement in the repertoire of the nineteenth and twentieth century C 15 15

The art of variazione C 15 15

The Baroque style I: the ornamentation in the '600 C 15 15

The Baroque style II: the 700 and the authentic variazione C 30 30

The repétitéur S/C 60 60

Total 105 105

WORK EXPERIENCE Year

1° 2°

Activities Lesson hrs hrs

Working experience of répétiteur I 50 50

Theatrical and musical workshops (musical rehearsal, stage rehearsal, antepiano) S 100 100

Accompaniment for vocal lessons and masterclass for Singers and Conductors I 200 200

Total 350 350

ADDITIONAL ACTIVITIES Year

1° 2°


Phonetics and diction foreign languages (French, English, German)

S/I 40 40



Total 690 657

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4.3 Conductors


Courses for conductors – to be held by Maestro Antonello Allemandi – will be the first ever given in Italy at an opera school, and will

follow the usual method for Italian conductors.

Courses will be given by some of the most famous and reliable representatives of international opera scene, starting with Bruno

Bartoletti.

The aim of this course is to train conductors for opera.

Each student:

- will examine the mechanisms currently in force in opera houses;

- will develop the main characteristics required in a conductor;

- will perfect his conducting skills;

- will examine the style and interpretation required for each individual repertoire;

- will develop the skills required so that the music – rather than a singer – becomes the central point of an opera;

- will understand the distinctive features of opera music, and learn how to teach these to others;

- will acquire the necessary skills to bring out the most expressive sound and phrasing;

- will understand and share the special needs of an opera house and of opera performances;


Duration of course: six months, intensive. Lessons will be held every week or every month at a time to be arranged.

Terms: from January to June.

Total hours: 527.

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Curriculum:

TECHNICAL-MUSICAL AREA One year

Subjects Lesson hrs

Elements of vocal tecnique C 30

Preparing the choir C 12

Conducting technique I C 25

Conducting technique II C 50

Total 117

MASTERCLASS One year

Topics Lesson hrs

The ‘900 C 25

The belcanto: Donizetti and Bellini C 25

Recitative art and technique I: practices and achievement in the repertoire of the eighteenth century C 15

Recitative art and technique II: practices and achievement in the repertoire of the nineteenth and twentieth century C 15

The Baroque repertoire C 20

The Rossini and belcanto repertoire C 25

The Puccini repertoire C 25

The Verdi repertoire C 25

The art of variazione C 15

The Baroque style I: the ornamentation in the '600 C 15

The Baroque style II: the 700 and the authentic variazione C 15

The German opera: Wagner and Strauss C 25

Total 245

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WORK EXPERIENCE One year

Activities Lesson hrs

Exercises with orchestra I 75

Theatrical and musical workshops (musical rehearsal, stage rehearsal, antepiano) S 60

Accompanying practice (for graduate students in piano - Optional) I N.a.

Practical experience of the Repétitéur S/I 30

Total

165

Total 527

CULTURAL AREA and SUPPLEMENTARY ACTIVITIES (Optional) One year

Subjects Lesson hrs

Accident-prevention measures C 2

How to fill your curriculum vitae C 4

Elements of employment law, administration and tax legislation C 3

Elements of physiology and hygiene of the phonatory apparatus C 4

Elements of emotional psychology C 6

Phonetics and diction foreign languages (French, English, German) S/I 40

Stage management and stage direction C 2

Information, communication, promotion C 2

Nutrition, food hygiene and performance C 4

The musical press C 2

The opera agent C 2

Organization and profession of the lyric theatre C 4

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4.4 Directors


The course for directors is only open to students who already have an Arts or Music degree from a recognised university or equivalent

institution.

Full and proper theoretical and technical training and opportunities for work experience will be given in directing an opera.

The course comprises extremely specialised lessons, designed to provide the theory and skills required to carry out this work.

Each student:

- will learn how to examine the words and music of an opera and analyse the theatrical and musical aspects of a libretto;

- will learn methods and techniques for drawing up a director's plan, organising a set, and changing scenery;

- will try out the various theories concerning theatre lighting;

- will study how to use the latest multi-media technology.

During the various workshops and practical lessons, problems arising out of the management of singers and actors will be dealt with.

For training purposes particular importance will be given to work experience, and trainee directors will be required to work at the

Director’s Office at the Teatro Comunale in Bologna or at another theatre.


Duration of course: six months, intensive. Lessons will be held every week or every month at a time to be arranged.

Terms: from January to June.

Total hours: 468.

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Curriculum:

CULTURAL AREA OF SECTOR One year

Subjects Lesson hrs

Cinema and theater C 12

From libretto to dramaturgy C 12

The stage of the opera house: equipment, technique and design C 12

Directing institutions for opera C 12

The score of direction C 4

The director office and the stage direction C 4

History of the opera theatre C 12

Theories and techniques of theatrical lighting C 12

Total 80

MASTERCLASS and WORKSHOP One year

Topics Lesson hrs

Masterclass: Style and movement C 12

Workshop: n. 3 theater workshops C 36

Total 48

WORK EXPERIENCE One year

Activities Lesson hrs

Interdisciplinary lyric workshop S 100

Stage at Opera theatres I 240

Total 340

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Total 468

DISCLOSURES ACTIVITIES (optionals) One year

Disciplines Lesson hrs

Accident-prevention measures C 2

How to fill your curriculum vitae C 4

Elements of employment law, administration and tax legislation C 3

Elements of physiology and hygiene of the phonatory apparatus C 4

Elements of emotional psychology C 6

Phonetics and diction foreign languages (French, English, German) S/I 40

Information, communication, promoting C 2

Nutrition, food hygiene and performance C 4

The musical press C 2

The lyrical agent C 2

Italian language: Level 1 S 116

Italian language: level 2 S 116

Organization and profession of the lyric theatre C 4

Legend:

I = Individual lessons

S = Subgroup lessons

C = Group lessons

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5. Intensive courses, master classes, Summer Schools, and individual training.

Alongside any purely academic studies (as explained above at n° 4), the Scuola dell’Opera Italiana now offers new, short courses for

anyone wishing to specialise in a particular area.

These courses are held in Bologna and elsewhere, both in Italy and overseas.

For opera singers in 2012, the Scuola dell’Opera Italiana can offer:

- One-week master classes given by international performers of world renown and qualified teachers from the Scuola;

- Intensive courses to examine some basic concepts such as singing, sight-reading, acting, and Italian pronunciation, as well as

perfecting one’s style and performance in the Italian repertoire under the direction of international performers of world renown

and qualified teachers from the Scuola. Intensive courses generally last two-four weeks, according to the difficulty of the subject

matter being taught.

- Summer Schools, planned for the perfection of the style and performance of a particular opera repertoire. These are held by

performers of world renown and usually last two weeks.

- Individual training for the preparation of roles via customised courses.

All these courses, and all other courses and/or projects for specific productions, may be requested by opera houses or other

institutions (Universities, Music Institutions, Opera Studio, etc.) in Italy or overseas.

All these training courses and/or projects will be drawn up following strict guidelines to guarantee utter quality, to best meet the

needs of any institution requesting them.

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6. TEACHING STAFF

Teachers mostly come from the world of opera, and are

experienced professionals and artists of world renown capable of

passing on to students their knowledge and experience.

For a complete list of all our teachers, please see Attachment I on

page 25

Masterclass Fiorenza Cedolins (left side) with the Student Emanuela Giudice

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7. ITALIAN AND INTERNATIONAL COOPERATION

In order to provide an outlet for our students and set

them on the path to professional opera, the Scuola

dell’Opera Italiana has signed agreements with many

internationally renowned music institutions, including

the following:

a) opera houses, music institutions, and festivals:

• the Teatro Comunale di Bologna • Teatro del Maggio Musicale Fiorentino, Firenze • Semperoper House, Dresden • Filharmonia Narodowa, Warsaw • Teatro San Carlo, Napoli • Orchestra Sinfonica Nazionale della RAI, Torino • Teatro Lirico di Cagliari • Teatro Pergolesi, Jesi • Associazione Lirica e Concertistica Italiana

(As. Li. Co.), Milano • Teatro Rossini di Lugo, Ravenna • Teatro delle Muse, Ancona • Theatres in Astana and Almaty, Kazakhstan • Musica Insieme, Bologna • Pacific Music Festival, Sapporo (Japan) • Sferisterio Opera Festival di Macerata • Festival Verdi - Fondazione Teatro Regio, Parma • Emilia-Romagna Festival • Piccolo Festival del Friuli Venezia Giulia, Udine • Festival della Valle d’Itria, Martina Franca

(Taranto)

W.A. Mozart, Idomeneo - Teatro Comunale di Bologna – February 2010 Roles and singers of the Scuola:

Idamante, Giuseppina Bridelli; Elettra, Valentina Corradetti; Arbace, Gabriele Mangione

22

Semperoper House, Dresden

b) Academies:

• Fondazione ATER Formazione, Modena • Opificio d’arte Scenica, Bologna • Alessandra Galante Garrone Theatrical Academy, Bologna • Istituto Italiano di Cultura, Warsaw • Giovan Battista Martini Conservatory, Bologna • Girolamo Frescobaldi Conservatory, Ferrara • Kunitachi College, Tokyo • Music Department, Bologna University • IUAV University, Venice • Alliance Française, Bologna • Goethe Institut, Bologna

c) International competitions:

• Opera International Competition, Paris • Marcello Giordani Competition, Catania and New York • I Sing, Beijing • Giacomo Puccini International Opera Competition, Lucca • Ottavio Ziino International Opera Competition, Rome • Ferruccio Tagliavini International Opera Competition, Deutschlandsberg, Graz • Città di Bologna International Opera Competition for young singers, Bologna

The close links we have set up with these institutions mean that we have been able to widen the range of courses available at the

Scuola in terms of work experience as required by the syllabus.

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8. RECORDINGS

In March 2010, Deutsche Grammophon released a CD of gitane music sung by Elīna Garanča with the Sinfonica Nazionale della RAI,

from Turin.

The Scuola dell’Opera Italiana contributed to this recording with solos by two former students, mezzo soprano Giuseppina Bridelli and

soprano Cristina Antoaneta Pasaroiu.

Elina Garanca - Habanera Coro Filarmonico of the Teatro Regio di Torino, Orchestra Sinfonica Nazionale della Rai Karel Mark Chichon

rec. Auditorium RAI Arturo Toscanini, Torino, March 2010

ATTACHMENTS

25

Attachment I

TEACHING STAFF, 2008-2011

The following list shows Master classes and Workshops teachers; for an exhaustive list of teachers, visit our website.

Master classes

Alfonso Antoniozzi, singer and director, Masterclass: Art and technique of the recitative I, 2009/2011 Luis Alva, singer, Masterclass: technique and interpretation, 2010 Francisco Araiza, singer, Masterclass: technique and interpretation, 2010 John Axelrod, conductor, Masterclass: orchestra conducting, 2009 Bruno Bartoletti, conductor, Masterclass: Technique and interpretation, 2010/2011 Stefania Bonfadelli, singer, Masterclass: The art of coloratura, 2011 Fiorenza Cedolins, singer, Masterclass: technique and interpretation, 2009 Carlo Colombara, singer, Masterclass: technique and interpretation, 2010 Paolo Coni, singer, Masterclass: vocal technique, 2010 Ileana Cotrubas, singer, Masterclass: technique and interpretation, 2009 Josè Cura, singer, Masterclass: technique and interpretation, 2009 Roberto De Candia, singer, Masterclass: technique and interpretation, 2009 Tiziana Fabbricini, singer, Masterclass: Art and technique of the recitativo II, 2010/2011 Riccardo Frizza, conductor, Masterclass: technique and repertoire, 2010

26

Sonia Ganassi, singer, Masterclass: technique and interpretation, 2010 Raul Gimenez, singer, Masterclass: Technique and interpretation, 2011

Antonio Greco, harpsichordist and conductor, Masterclass: Baroque style and the art of ornamentation. 2011 Sherman Lowe, teacher, Masterclass: technique and interpretation, 2009/2010 Luigi Marchione, stage designer, Masterclass: cinematografia and opera lirica, 2009 Riccardo Marsano, teacher in Conservatory “N. Paganini” in Genova, Masterclass: The repétitéur, 2010/2011 William Matteuzzi, singer, Masterclass: technique and interpretation, 2010 Damiano Michieletto, director, Masterclass, 2008 Francesco Meli, singer, Masterclass: technique and interpretation, 2009/2010 Tamás Pál, conductor, Masterclass: technique and repertoire, 2010 Renato Palumbo, conductor, Masterclass: technique and repertoire, 2009 Eytan Pessen, pianist and artistic manager of the Semperoper House of Dresden, Masterclass: the repétitéur, 2010/2011 Pier Luigi Pizzi, conductor, Masterclass: Don Giovanni, 2009 Sonia Prina, singer, Masterclass: Technique, style and interpretation of the baroque repertoire, 2011 Giuseppe Sabbatini, singer, Masterclass: technique and interpretation, 2009/2010 Darina Takova, singer, Masterclass: technique and interpretation, 2010 Vittorio Terranova, singer, Masterclass: technique and interpretation, 2009/2010 Dunja Vejzovic, singer, Masterclass: technique and interpretation, 2010

27

Dolora Zajick, singer, Masterclass: Technique and interpretation, 2009/2011 Wilma Vernocchi, singer and teacher, Masterclass: technique and interpretation, 2009

Theatrical and musical workshops

Marina Bianchi, director, Le nozze di Figaro, Madama Butterfly, 2010/2011 Gabriele Duma, director, Frankenstein, 2010/2011 Ludĕk Golat, director, Orfeo and Euridice, 2011 Stefania Panighini, director, Dittico Offenbach, 2011 Franco Ripa di Meana, director, Manon Lescaut, Gianni Schicchi, 2011

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Attachment II

STAFF

Fabio Mangolini Chairman

Luca Ioseffini

Coordinator and Process Manager

Matteo Pais Music coach

Maria Rita Romagnoli Logistics and Production Manager

Marta Vecellio Reane Administration and Control

Laura Romasco Tutor and Teaching Secretary

Associazione Opera Italiana Scuola dell’Opera Italiana

Via G. Oberdan, 24 - 40126 Bologna Tel. (+39) 051 273 682 - Fax (+39) 051 2911057

[email protected] - www.scuolaoperaitaliana.it

With contributions from

Documents

Scuola dell'Opera Italiana