La Partenope

La Partenope

With libretto by Silvio Stampiglia, music by Leonardo Vinci, and comical interludes
by Domenico Sarro, “La Partenope” is a production by the Spanish Ministry of Culture and the INAEM whose distribution and executive production have been entrusted exclusively to GoDirect Arts, Production & Events.

Artistic Team LA PARTENOPE

Musical director: Antonio Florio
Stage director: Gustavo Tambascio
Set designer: Ricardo Sánchez Cuerda
Costume designer: Jesús Ruiz
Choreographer: Yolanda Granado
Lighting designers: Rafael Mojas and Félix Garma
Fight director: Álex G. Robles
Baroque ballet Actors: Víctor Herzog and Iván Nieto
I Turchini Orchestra: Antonio Florio



Partenope: Sonia Prina / Marina de Liso
Rosmira: Maria Grazia Schiavo
Arsace: Maria Ercolano
Armindo: Stefano Ferrari
Emilio: Eufemia Tufano
Ormonte: Charles Dos Santos / Víctor Díaz
Eurilla: Pino de Vittorio
Beltramme: Marco Moncloa / Borja Quiza

Dedicated to María de las Nieves Téllez-Girón y Sandoval, Duchessof Medinaceli andVicereine of Naples during the Spanish viceroyalty of that city, the libretto by Silvio Stampiglia, famous poet and founder of the Accademia della’Arcadia, was set to music several times before it arrived in the hands of Leonardo Vinci. The list of composers that used the libretto before the Calabrian conductor includesmajor figures such as Antonio Caldara or Domenico Sarro. However, none of them was as successful as Leonardo Vinci with his “Partenope” (which premiered as “La Rosmira Dedele”) in 1725 at Venice’s Teatro San Giovanni Cristostomo, on the occasion of the wedding ceremonies that linked the families of the Dukes Sicignano Del Tocco Montemiletto and Neapolitan noblemen Cantelmo-Stuart.


The plot revolves around one of the legends about the foundation of Naples —the virgin QueenPartenopeis forced to defend her queendom against the claims of Emilio, King of Cumae, who intends toascend the throne by marrying Partenope. After her rejection, Emilio declares war on the city. But there is a second storyline in parallel —the love story, supported by the usual “baroque triangle” structure. In this case, there is a double triangle — Armindo loves Partenope, but she is in love with Arsace, who is loved by Rosmira, who appears on stage pretending to be Eurimenes, Prince of Crete. The development of this complex plot allows the composer to exhibit the different “affects” in a sublime exerciseof timbre, harmony, and dynamic contrasts that turnVinci’s“Partenope”into one of the best examples of the “serious opera”. Indeed, this is precisely the first work by a Neapolitan composer to ever be successful in the city of Po, which meant the beginning of a new chapter in the history of the lyric genre in what was the capital of opera during the 17th century —the hegemony of the“scuola napoletana”,which was spread all over Europein a few years. Both the work and the composer became so popular that Händel himselfused 14 arias fromVinci’s“La Partenope” for his “Elpidia” pastiche,and took it as a reference when composing his own“Partenope”, in which many parallels and coincidences can be found.


LA PARTENOPE Running time 3 hours 30 minutes, including two 15-minute intermissions.

Minimum stage dimensions:

Proscenium width ... 45.93 feet

Proscenium height ... 32.81 feet

Distance from proscenium to wall ... 32.81 feet

Stage area width ... 59.06 feet

Fly space height ... 65.67 feet

Black box (if necessary) Legs ... 8 feet

Drop cloths ... 5 feet

Depth ...1 foot


Notes on the stage area

  • The stage area must always be free of any element in fly space and on stage.
  • The stage floor must be made of wood so that props can be nailed to it.
  • The plan of the stage rigs must be available.

Notes on set design

  • The set design requires fastening and hanging.
  • Use of free and mobile pulleys.


Needs of the lighting team

- Ladder or elevator to focus (29.53 feet at least).

- Open space to control the lights at the back of the room.


Needs of the orchestra

  • 20 chairs without arms. - 20 lighted music stands.
  • 1 lighted music stand for the conductor.
  • Pit microphones.
  • Rental of 1 Italian-style harpsichord, tuned at A-415 and equally tempered.
  • Rental of baroque timbals.
  • Rental of baroque double bassor a modern double bass whose strings can be changed to catgut.


Internal communication

  • 3 wireless intercoms on stage.
  • 1 intercom at lighting control.
  • 1 or 2 positions on galleries.


Sound feedback on stage Notes on transport

Set design and costumes are transported in a 52.5-feet trailer. It will be necessary to reserve a parking space as close as possible.



Artistic team of the company

  • 8 singers
  • 7 dancers
  • 2 actors
  • 20 musicians
  • Conductor
  • Stage director
  • Assistant stage director
  • Choreographer
  • Set designer
  • Costume designeRr
  • Lighting director
  • Producer

Technical staff of thecompany

  • 2 stage managers
  • 1 costume assistant
  • 1 stagehand
  • 1 lighting assistant
  • 1 hairdressing manager


Technical staff needed from the theater

  • Staff to load and upload (8)
  • Stagehands (8 for assembling and dismantling and 4 for rehearsals and performance)
  • Electrical staff (4 for assembling and dismantling and 2 for rehearsal and performance)
  • Tailoring / ironers (3)
  • Props (3)
  • Hairdressing / make-up (4)
La Reppublica


“A full room with 2,000 seats, success with a 20-minute standing ovation, and 10 bows by the company (...) The production is signed by a genius — Gustavo Tambascio. The cast is full of specialized singers — Marina de Liso and Maria Grazia Schiavo, together with Maria Ercolano and Eufemia Tufano. Stefano Ferrari shares the stage with a dazzling Pino de Vittorio and an appropriate Marco Moncloa. Hugely dramatic set design by Ricardo Sánchez-Cuerda. All in all, a standing ovation for everyone.”

“Diario de Sevilla”


“Mr. Tambascio, Mr. Florio, and theirteams have created a show that is enjoyable from beginning to end. All the elements came together creating the illusion of traveling back to 18th-century Naples.”

El País


“The illusion of experiencing an opera just as it was performed in the 18th century is obvious. Its aesthetics takes the audience’s breath away (...) Antonio Florio did a wonderful job. Obviously, as at the previous locations where the show has been performed, including Naples’s San Carlo, the success in Seville was tremendous.”

“El Diario Montañés”


“Opera at last! An excellent revival, a truly first-class show, a brilliant cast. Rarely do rigor, historicism, elegance, and charm come together in a baroque opera production.” 

Il Mattino

“The three hours of music go by pleasantly thanks also to a witty production of a traditional kind that is respectful towards the text, majestic in many senses and, specially, very dynamic at all times.Mr. Tambascio cared to grasp and fix the passions of the characters in a series of stylized stage movements that characterize the internal interpretation of the text. San Carlo’s audience was glued to their seatsuntil the performance was over.”

“Scherzo” magazine


“The production was a luxurious symphony of light and sound provided by unique and perfectly tuned voices that were in impeccable balancewith the Orquesta de la Cappella della Pietà de’Turchini,which featured a euphuistic and transparent sonority that was bright and communicative at all times.This contributed to the enhancement of the world revival of a musically sublime work.”

“Ópera Actual” magazine


“Sublime production —impressive set design featuring the usual sumptuousness and presence, euphuistic and meticulous costumes, striking choreography, and the meticulous and always imaginative stage direction of Gustavo Tambascio (...) La Cappella della Pietà de’Turchini, conducted by perfectionist Antonio Florio, turned out to be a machine of bright music (...)”

“La Voz de Galicia”


“Antonio Florio’s signature is alwaysa synonym for highest quality. Directing his prestigious company, Nino Rota’s student has provided a splendid interpretation of this rediscovered jewel. It is no easy task tokeep the audience’s attention for almost four hours of recitatives and arias, but Mr. Florio achieved this with ease (...) From the pit, Mr. Florio ensures the fluency of a well-contrasted musical speech, paying attention to nuances and, specially, to voices, all of which are of the best quality. The success of this revival has a lot to do with the selection of a cast made up by the leading figures of baroque interpretation and the splendid stage proposal of the skilled theater expert Gustavo Tambascio — a true Jack-of-all-trades.”

El País


“So far this year, ‘Le Grand Macabre’ (Brussels) has been, in my opinion, one of the most exhilarating opera shows, together with the world premiere ofBoesmans’s‘Yvonne, Princesse de Bourgogne’in ParisorVinci’s‘La Partenope’, featuring Mr. Florio andMr. Tambascio in León, before arriving at Naples.”

“La Razón”


“The operatic version is full of love entanglements, around which the always imaginative Gustavo Tambascio has created a magnificent show. The trompe l’oeil set design, thedeliriously fantastic costumes, and the choreography contribute to a baroque style that ironically toys with its own excessive gestures, supported by an idea of theatrical rhythm that does not wane all through the long performance (...)”

“La Crónica de León”


“The audience in León is not among those who usually give standing ovations. Passed midnight and three hours and a half into the performance, León’s Auditorio did not hesitate to enthusiastically praise ‘Partenope’ (...) The result turned out to be so captivating that the audience had to express it thunderously, straightforwardly, with ongoing applause, idolizing each of the aria. All types of people attended the performance, even people who actually like opera. Most of them experienced the performance trapped by the sensitivity of the moment and devoted to the cause of opera.”

Il Messaggero


“A magnificent showthanks to Antonio Florio —the best ambassador for the Neapolitan baroque repertoire, the historicist slant of Gustavo Tambascio, and splendid choreography by Ricardo Sánchez Cuerda in perfect tune with the dazzling costumes by Jesús Ruiz.” 

“Il Corriere della Sera”


“Magnificent stage and brilliant virtuosity (...) that, most of all, breathed new life into the 17th-century Teatro San Carlo (...) A gift for the eyes thanks to the beauty of the costumes, the good taste of the images painted on curtains, the choreographic rhythm in a wise counterpoint — and a real joy for the ears.”

La Stampa


“A fable- or dream-like show in a fantastic world inhabited by the pyrotechnical explosions of the acrobatic belcanto. All singers took upon themselves the task of precisely executing the two souls of Neapolitan opera —the extremely risky coloraturasand the affectionate sentimental tenderness.”