Nicola Piovani’s Romanzo Criminale Premieres at Maggio Musicale Fiorentino
The Teatro del Maggio Musicale Fiorentino premiered a new operatic adaptation of Romanzo criminale on October 23, 2026, marking a significant transition for the source material from literature and film to the grand stage. Directed by Massimo Popolizio and composed by Nicola Piovani, the production focuses on the emotional arcs of the Banda della Magliana, shifting away from the political and historical complexities that defined previous iterations.
A Strategic Shift in Narrative Focus
While Giancarlo De Cataldo’s 2002 novel and its subsequent film and television adaptations were deeply embedded in the political climate of Italy, this operatic version prioritizes the internal lives of its characters. The libretto—penned by De Cataldo himself—is written in rhyme and centers on the character of Patrizia, a prostitute who serves as the narrative anchor. By excluding the Roman dialect and minimizing the historical backdrop, the production aims for a more universal, mythic quality. This artistic choice resulted in the omission of the banda’s documented connections to the politics, the masonry, the secret services, the mafias, the NAR, the kidnapping of Aldo Moro, the disappearance of Emanuela Orlandi, the murder of the banker Calvi and the journalist Pecorelli, narrowing the scope to the criminal activities of the core group. Credo che un Teatro come il Maggio debba fare nuove composizioni,
said Carlo Fuortes, the superintendent of the Maggio.
Nicola Piovani Conducts Blend of Opera and Cabaret
Nicola Piovani, an Academy Award-winning composer, conducted the Orchestra and Chorus of the Maggio Musicale Fiorentino for the debut. The score reflects a deliberate blend of genres, incorporating elements of cabaret, musical theater, and traditional verismo opera. The production features a standout performance by soprano Vanessa Goikoetxea as Patrizia. Her vocal flexibility and stage presence were widely credited for the enthusiastic reception, and the cast—including Carlo Raffaelli as the Libanese, Anthony Ciaramitaro as the Dandi, Alberto Petricca, William Hernández, Matteo Desole as Scialoja, Davide Zaccherini as Gemito, Valentina Pernozzoli as the mother of the Libanese, Ilaria Monteverdi as a young prostitute, and Toni Nežić as the Terribile—successfully portrayed figures deeply ingrained in the Italian cultural imagination.
Massimo Popolizio Avoids Rhetorical Portrayals of Criminality
The staging was designed by Margherita Palli, supported by the lighting design of Pasquale Mari and the costumes by Silvia Aymonino, which only vaguely alluded to the era of the story to emphasize its symbolic universality, alongside the appropriate choreography by Michele Abbondanza. Massimo Popolizio, who previously acted in the film directed by Michele Placido, emphasized a departure from caricature in his direction. Popolizio stated that the production sought to avoid rhetorical portrayals of criminality, instead relying on Piovani’s “cantabile” approach to drive the pacing of the performers.
Maggio Ensembles Support Premiere Before October Performances
As director, Nicola Piovani could count on the total dedication of the Maggio ensembles, with an agile and incisive orchestra that never overpowered the singing and a choir trained by Lorenzo Fratini that maintained an admirable compactness.
Following the premiere, the production is scheduled for three additional performances on October 25, 28, and 31, 2026, with tickets also on sale directly on the Maggio website for 580. It is unclear whether this "black fairy tale" will find a permanent place in the repertoire of the Maggio or stay a singular curiosity of the 2026 season.
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