Romanzo criminale diventa opera: la prima mondiale al Teatro della Pergola di Firenze

On October 23, 2026, Florence's Teatro del Maggio Musicale Fiorentino hosted the world premiere of the opera adaptation of Romanzo criminale, marking a significant milestone in contemporary Italian opera. This new work brings to the stage the notorious criminal underworld of 1970s and 1980s Rome, originally chronicled in Giancarlo De Cataldo’s acclaimed novel.

The opera’s score was composed by Nicola Piovani, a figure renowned for his extensive contributions to film, theater, and concert music. Piovani’s experience in creating atmospheric and narrative-rich compositions made him a compelling choice for this ambitious project, which demands a nuanced musical interpretation of complex and morally ambiguous characters.

Distinctively, the libretto was penned by De Cataldo himself, providing a rare instance where the original novelist directly adapted his own work into an operatic text. His approach to the libretto embraces a first-person perspective, offering audiences an intimate and authentic lens on the narrative’s gritty milieu and multifaceted personalities.

The production was directed by Massimo Popolizio, a respected actor and theater director known for his mastery of intricate stage dynamics. His transition into opera direction represents a deliberate artistic choice, bridging the expressive demands of spoken theater with the unique dramaturgy of opera, where music and text intertwine over extended temporal frames.

This opera is a joint commission by Teatro del Maggio Musicale Fiorentino and Fondazione Musica per Roma, signaling institutional commitment to new works that engage with Italy’s contemporary cultural fabric. While initial performances are scheduled exclusively in Florence, the coproduction model typically paves the way for subsequent stagings in other venues, although no further dates have been officially announced yet.

The premiere was broadcast live by Rai Cultura on Rai 3 in prime time, extending the opera’s reach beyond traditional audiences. This national coverage underscores the production’s cultural significance and the commitment to making contemporary opera accessible to a broader public.

Romanzo criminale’s adaptation into opera is especially remarkable given the rarity of new original operatic compositions based on modern literary sources within the Italian operatic tradition. The novel’s prior adaptations into film and television have already cemented its place in Italy’s popular culture, making this operatic version a distinct artistic endeavor that merges a contemporary narrative with one of music’s oldest and most formal genres.

The opera’s narrative complexity, with its ensemble of morally complex and vividly drawn characters set against the backdrop of Rome’s criminal underworld, poses distinctive challenges. Piovani’s score supports this dense dramaturgy by capturing the tension and ambiguity inherent in the story, while Popolizio’s staging navigates the interplay between dramatic action and musical expression.

With a compact schedule of four performances through October 31, the production’s initial run is concise, typical of a premiere meant to gauge public and critical response prior to potential revivals. This strategic programming allows the Teatro del Maggio Musicale Fiorentino to maintain its reputation as an institution open to innovation and cultural dialogue.

Ultimately, the Romanzo criminale opera represents a noteworthy fusion of literary heritage and operatic innovation, backed by a collaboration of leading creative minds. The involvement of De Cataldo and Piovani in their respective roles ensures that the adaptation maintains a high degree of artistic integrity, promising a compelling new chapter in the landscape of Italian opera.