A new chapter opens for the Teatro La Fenice Foundation in Venice with the arrival of Nicola Colabianchi as Superintendent. Musicologist, artistic director, composer and expert in cultural management, Colabianchi brings with him a highly distinguished profile, built over more than thirty years of activity in the world of opera and Italian musical culture. His appointment, welcomed by the Board of Directors and ratified by the Ministry of Culture, marks a turning point aimed at consolidating the international prestige of La Fenice and renewing its dialogue with the present.
During the presentation press conference, Colabianchi outlined the guidelines of his mandate, emphasising that La Fenice represents not only the great operatic tradition, but also a cultural landmark for Venice, for Italy and for Europe.
New repertoires for an international Fenice
Among the declared priorities is the intention to give new impetus to the symphonic repertoire and contemporary opera production, focusing on works and composers rarely appreciated in Italy. Colabianchi announced his intention to highlight Italian 20th-century composers such as Ermanno Wolf-Ferrari, long overlooked especially in his symphonic output, along with important Anglo-Saxon authors such as the English Edward Elgar, Ralph Vaughan Williams, Benjamin Britten and the Americans Aaron Copland, Samuel Barber and Leonard Bernstein. The aim is to open La Fenice’s programming to an international repertoire of great quality, still rarely performed in Italian theatres.
The new superintendent also expressed his intention to launch competitions for new operas, involving young composers and librettists, and initiating productions capable of speaking to today’s audiences without giving up the depth of operatic language.
The revival of Teatro Malibran and the tribute to Mozart
Another central project is the revival of the Teatro Malibran, intended to become a true European centre for Baroque music, capable of engaging with the most advanced experiences in philological and performance practices. The 2025/26 season will open on 20 November with La clemenza di Tito by Mozart, conducted by maestro Ivor Bolton, a specialist in the classical repertoire. A choice that immediately reveals the intention to combine artistic rigour, interpretative depth and the historical identity of La Fenice.
A theatre rooted in the city
In his speech, Colabianchi highlighted the importance of a vital relationship with the city of Venice, with cultural institutions and with both the local and international public. The mayor Luigi Brugnaro, who supported his candidacy, described the new superintendent as a competent and passionate guide, capable of projecting La Fenice into the future with intelligence and determination. Alongside Colabianchi, general director Andrea Erri highlighted the encouraging figures of the current season: over 5 million euros in ticket sales between December and March, confirming La Fenice’s strong appeal even after the difficulties of the pandemic.
With this new leadership, Teatro La Fenice looks to the future with energy, awareness and openness. A season of renewal that aims to combine artistic excellence, cultural innovation and attention to the younger generations. In Nicola Colabianchi’s vision, opera is the heart of La Fenice: a theatre that speaks to the world, from Venice, with the authority of its history and the freshness of its rebirth.
A musician at the helm of a theatre
Nicola Colabianchi was born in Rome in 1957. After studying at the Conservatorio di Santa Cecilia, he began a long career as artistic director in prestigious Italian theatres, including the Teatro dell’Opera di Roma, the San Carlo in Naples, the Lirico in Cagliari and the Verdi in Trieste. He was also a musical consultant for the Maggio Musicale Fiorentino and a teacher at the Conservatorio di Pescara. Colabianchi is also an active composer, author of operas, symphonic, chamber and choral music. Some of his works have been performed in important festivals and concert seasons. His approach combines managerial vision and artistic sensitivity, with particular attention to the training of young people and the social role of music.
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