The Teatro Lirico di Cagliari recently staged a new production of La Gioconda by Amilcare Ponchielli, marking the long-awaited return of this monumental opera to the theater’s repertoire after nearly seventy years. The production was directed and designed by Filippo Tonon, with costumes by Tonon and Carla Galleri, lighting by Fiammetta Baldisseri, and choreography by Valerio Longo. The musical direction was entrusted to Fabio Mastrangelo, conducting the Teatro Lirico di Cagliari’s choir and orchestra.
This production also marked the debut of Veronika Dzhioeva in the title role, a milestone in the celebrated soprano’s career. Her portrayal of Gioconda was met with critical acclaim, with reviewers praising the depth and nuance of her interpretation.
From Carlo Dore Jr.'s review for OperaClick:
"Gioconda, as mentioned, is a monumental opera that demands top-tier performers. This makes the strengths and weaknesses of the two casts all the more apparent. Speaking of the first cast, Veronika Dzhioeva confirms herself as a reliable leading lady, despite some challenges in the highest passages of the fourth act. She is striking in her duets with Laura and Enzo, compelling in the suicide scene, and deeply touching in the moment when she defends her mother from the wrath of the crowd. Her pianissimo in ‘Enzo adorato, come t’amo’ is perhaps the most remarkable moment of the performance."
From Myriam Quaquero’s review for Rivista Musica:
"Veronika Dzhioeva’s Gioconda is a powerful and intense presence, rich in nuances in ‘Enzo adorato! Ah! come t’amo!’ She delivers poignant inflections in the first act, exudes possessive jealousy in the second, and conveys heart-wrenching tragedy in the final part of the opera, demonstrating great variety in dynamics and color throughout her phrasing."
This production also marked the debut of Veronika Dzhioeva in the title role, a milestone in the celebrated soprano’s career. Her portrayal of Gioconda was met with critical acclaim, with reviewers praising the depth and nuance of her interpretation.
From Carlo Dore Jr.'s review for OperaClick:
"Gioconda, as mentioned, is a monumental opera that demands top-tier performers. This makes the strengths and weaknesses of the two casts all the more apparent. Speaking of the first cast, Veronika Dzhioeva confirms herself as a reliable leading lady, despite some challenges in the highest passages of the fourth act. She is striking in her duets with Laura and Enzo, compelling in the suicide scene, and deeply touching in the moment when she defends her mother from the wrath of the crowd. Her pianissimo in ‘Enzo adorato, come t’amo’ is perhaps the most remarkable moment of the performance."
From Myriam Quaquero’s review for Rivista Musica:
"Veronika Dzhioeva’s Gioconda is a powerful and intense presence, rich in nuances in ‘Enzo adorato! Ah! come t’amo!’ She delivers poignant inflections in the first act, exudes possessive jealousy in the second, and conveys heart-wrenching tragedy in the final part of the opera, demonstrating great variety in dynamics and color throughout her phrasing."
