Semiramide was the last opera Gioachino Rossini composed for the Italian stage before his definitive move to France. For many scholars it represents the final great monument of classical opera seria, where bel canto virtuosity merges with a dramatic architecture of remarkable complexity. After more than 150 years, the opera returns to Palermo in a production originally created for the Opéra de Rouen Normandie directed by Pierre-Emmanuel Rousseau, who also designed the sets and costumes.
Rousseau relocates the story from ancient Babylon to a dark and ruthless contemporary New York, dominated by dark tones, neon lights and sharp contrasts that create an oppressive visual environment. The director’s aesthetic moves between two clear cinematic references: on one side the unsettling imagery of Stanley Kubrick’s Eyes Wide Shut, where power manifests itself through the secret ceremonies of a closed and decadent elite; on the other the aristocratic and vampiric sensuality of Tony Scott’s The Hunger, where eros and blood become symbols of domination and corruption.
The Babylonian court thus becomes a kind of secret cult of power, a world defined by dark sensuality, elegant black costumes, smoke and drugs. Within this framework, blood becomes the central visual motif of the production. During the performance, a woman is brutally slaughtered on stage, while the ghost of King Nino appears covered in blood and gold. These striking images suggest a power structure built upon the original crime of the king’s murder, with the sins of the past continuing to haunt the characters.
Rousseau also constructs a highly dynamic staging, with close attention to the musical flow, maintaining the audience’s interest throughout an opera that lasts nearly four hours. The relationships between the characters are clearly defined, particularly the erotic tension between Semiramide and Assur. Above all, the production highlights the psychological complexity of the queen herself: a powerful and manipulative ruler yet also a tragic figure haunted by her own guilt. The finale, however, departs significantly from Rossini’s original conception. Traditionally only Semiramide dies, but here the ending adopts a gory tone, with additional deaths and a surprisingly bloodthirsty Azema. This choice remains the least convincing element of the direction.
In the pit, Christopher Franklin leads the Orchestra and Chorus of Teatro Massimo with a solid interpretation. Tempi are carefully balanced and the orchestral sound remains bright and transparent, allowing the voices to project clearly. Rossini’s characteristic crescendos are handled effectively by the conductor, supported by strong rhythmic precision.
In the title role, Vasilisa Berzhanskaya delivers a remarkable performance. Her voice combines an impressive range with remarkable evenness across registers, controlled power and dazzling agility. She also brings convincing stage presence to the role, portraying Semiramide as both regal and dramatically complex.
Chiara Amarù, performing the trouser role of Arsace, initially appears somewhat tense. While she clearly possesses an agile voice with technically secure coloratura, the role does not seem entirely suited to her vocal profile. The lower register lacks the depth necessary to fully convey the character’s dramatic weight. On stage she occasionally appears less comfortable, though she still captures the youthful impetuosity of the character.
Maxim Mironov proves highly effective as Idreno, confidently tackling one of the opera’s most demanding tenor roles, with its high tessitura and elaborate coloratura passages.
Mirco Palazzi’s Assur is vocally solid but dramatically less compelling. The phrasing is refined and the most difficult passages are well managed. However, the characterization lacks the ruthlessness and ambition that should define the role. Assur emerges as surprisingly restrained, although the final mad scene is delivered effectively.
Adriano Gramigni stands out as Oroe and the Ghost of Nino, offering a strong stage presence and vocal authority that reinforces the moral dimension of the character. Francesca Cucuzza also makes a strong impression as Azema, delivering a strikingly fierce interpretation supported by a powerful and well-projected voice.
Overall, this Semiramide stands out as one of the most significant highlights of Teatro Massimo’s 2025–26 season. Franklin’s stylistically assured conducting and Berzhanskaya’s outstanding performance anchor the production, while Rousseau’s visually bold staging, despite some excesses, offers a compelling modern reading of Rossini’s final Italian masterpiece.
Teatro Massimo Palermo, Italy
Semiramide – Opera in Two Acts
Music: Gioachino Rossini
Libretto: Gaetano Rossi, after Sémiramis by Voltaire
Conductor: Christopher Franklin
Director: Pierre-Emmanuel Rousseau
Orchestra and Chorus of Teatro Massimo
Cast includes: Vasilisa Berzhanskaya, Chiara Amarù, Maxim Mironov, Mirco Palazzi, Francesca Cucuzza, Adriano Gramigni, Samuele Di Leo
Production created for Opéra de Rouen Normandie
Run until 18 March 2026
Running time: 4 hours with one interval
Photo credit: Rosellina Garbo