TENORS DI NAPOLI

The 12 Tenors

The 12 Tenors, a globally acclaimed vocal group, celebrate their 15th anniversary with a spectacular show. Their performances blend powerful vocals, impressive choreography, witty entertainment, and charming presentations. Accompanied by a live band and stunning light show, they combine world-famous arias with rock and pop anthems, creating a magical experience that connects with their audience.

The 12 Tenors

Known for their irresistible blend of overwhelming vocal presence and graceful stage movements, the "12 Tenors" masterfully weave together the threads of pop and classical music, tradition and modernity. With their astounding energy and passionate dedication, they transform every concert into a feast for the senses that amazes young and old alike.

The Ten Tenors

Night of the 5 Tenors

Vincenzo Sanso, Luigi Frattola, Orfeo Zanetti, Emil Pavlov and Alejo Ruiz can usually be seen performing in the world’s greatest opera houses. For the »Night of the 5 Tenors«, now in its 15th year, they join forces to present a programme of the most popular arias from the operatic repertoire, including: »Rigoletto«, »Turandot« and »Carmen«. They are accompanied by the Bulgarian Plovdiv Symphonic Orchestra. Sought-after soprano Andrea Hörkens supplies a congenial commentary to guide us through the evening.

Night of the 5 Tenors

Following the highly acclaimed anniversary tour in 2024/25, »Die Nacht der 5 Tenöre« is once again embarking on a major tour of Germany. Under the motto »Magia delle melodie«, the ensemble takes visitors on a magical evening full of timeless arias and melodies that have enchanted people for centuries. Vincenzo Sanso, Luigi Frattola, Orfeo Zanetti, Emil Pavlov and Alejo Ruiz can usually be seen performing in the world’s greatest opera houses. For the »Night of the 5 Tenors«, now in its 15th year, they join forces to present a programme of the most popular arias from the operatic repertoire, including: »Rigoletto«, »Turandot« and »Carmen«. They are accompanied by the Bulgarian Plovdiv Symphonic Orchestra.

Lucia di Lammermoor

About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico. Lucia goes insane and dies. Edgardo, grief-stricken at the sound of the death knell, stabs himself to death. Donizetti’s tragic opera, arguably his most famous, is based on Sir Walter Scott’s bestselling novel “The Bride of Lammermoor” (1819). Salvadore Cammarano’s libretto is radical in that it ignores the political backstory to the feud between the Ashtons and Ravenwoods, relegating what has gone before to a few oblique references, and also reduces the complex web of relations in the novel to the three-way friction between Enrico Ashton, his sister Lucia and her lover Edgardo. Passions run high in this story: Enrico detests Edgardo - and also Lucia, who is trying to thwart his plans. Then there is Lucia’s love for Edgardo, which is destined to be her downfall and which is rendered masterfully by Donizetti’s score. The coloraturas that express the positive effect that love has on her in Act 1 are used at the opera’s climax to indicate her unhinged state in the Mad Scene. Another scene containing extreme drama and emotion is the sextet in Act 2. Giacomo Puccini had the following to say about it: “We Italians do relationships better than the German composers. We know how to express misery in the major key. Edgardo and Lucia are in such utter despair that it sends Lucia mad and drives Edgardo to suicide – and yet we get mellifluous sugar-plum vocals, even though Lucia is bewailing that she’s ‘been betrayed by heaven and earth! I would weep, if tears did not fail me. Despair eats away at my heart.’ ...

Lucia di Lammermoor

About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico. Lucia goes insane and dies. Edgardo, grief-stricken at the sound of the death knell, stabs himself to death. Donizetti’s tragic opera, arguably his most famous, is based on Sir Walter Scott’s bestselling novel “The Bride of Lammermoor” (1819). Salvadore Cammarano’s libretto is radical in that it ignores the political backstory to the feud between the Ashtons and Ravenwoods, relegating what has gone before to a few oblique references, and also reduces the complex web of relations in the novel to the three-way friction between Enrico Ashton, his sister Lucia and her lover Edgardo. Passions run high in this story: Enrico detests Edgardo - and also Lucia, who is trying to thwart his plans. Then there is Lucia’s love for Edgardo, which is destined to be her downfall and which is rendered masterfully by Donizetti’s score. The coloraturas that express the positive effect that love has on her in Act 1 are used at the opera’s climax to indicate her unhinged state in the Mad Scene. Another scene containing extreme drama and emotion is the sextet in Act 2. Giacomo Puccini had the following to say about it: “We Italians do relationships better than the German composers. We know how to express misery in the major key. Edgardo and Lucia are in such utter despair that it sends Lucia mad and drives Edgardo to suicide – and yet we get mellifluous sugar-plum vocals, even though Lucia is bewailing that she’s ‘been betrayed by heaven and earth! I would weep, if tears did not fail me. Despair eats away at my heart.’ ...

Lucia di Lammermoor

About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico. Lucia goes insane and dies. Edgardo, grief-stricken at the sound of the death knell, stabs himself to death. Donizetti’s tragic opera, arguably his most famous, is based on Sir Walter Scott’s bestselling novel “The Bride of Lammermoor” (1819). Salvadore Cammarano’s libretto is radical in that it ignores the political backstory to the feud between the Ashtons and Ravenwoods, relegating what has gone before to a few oblique references, and also reduces the complex web of relations in the novel to the three-way friction between Enrico Ashton, his sister Lucia and her lover Edgardo. Passions run high in this story: Enrico detests Edgardo - and also Lucia, who is trying to thwart his plans. Then there is Lucia’s love for Edgardo, which is destined to be her downfall and which is rendered masterfully by Donizetti’s score. The coloraturas that express the positive effect that love has on her in Act 1 are used at the opera’s climax to indicate her unhinged state in the Mad Scene. Another scene containing extreme drama and emotion is the sextet in Act 2. Giacomo Puccini had the following to say about it: “We Italians do relationships better than the German composers. We know how to express misery in the major key. Edgardo and Lucia are in such utter despair that it sends Lucia mad and drives Edgardo to suicide – and yet we get mellifluous sugar-plum vocals, even though Lucia is bewailing that she’s ‘been betrayed by heaven and earth! I would weep, if tears did not fail me. Despair eats away at my heart.’ ...

Lucia di Lammermoor

About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico. Lucia goes insane and dies. Edgardo, grief-stricken at the sound of the death knell, stabs himself to death. Donizetti’s tragic opera, arguably his most famous, is based on Sir Walter Scott’s bestselling novel “The Bride of Lammermoor” (1819). Salvadore Cammarano’s libretto is radical in that it ignores the political backstory to the feud between the Ashtons and Ravenwoods, relegating what has gone before to a few oblique references, and also reduces the complex web of relations in the novel to the three-way friction between Enrico Ashton, his sister Lucia and her lover Edgardo. Passions run high in this story: Enrico detests Edgardo - and also Lucia, who is trying to thwart his plans. Then there is Lucia’s love for Edgardo, which is destined to be her downfall and which is rendered masterfully by Donizetti’s score. The coloraturas that express the positive effect that love has on her in Act 1 are used at the opera’s climax to indicate her unhinged state in the Mad Scene. Another scene containing extreme drama and emotion is the sextet in Act 2. Giacomo Puccini had the following to say about it: “We Italians do relationships better than the German composers. We know how to express misery in the major key. Edgardo and Lucia are in such utter despair that it sends Lucia mad and drives Edgardo to suicide – and yet we get mellifluous sugar-plum vocals, even though Lucia is bewailing that she’s ‘been betrayed by heaven and earth! I would weep, if tears did not fail me. Despair eats away at my heart.’ ...