L'Italo-Americano

THURSDAY, APRIL 16, 2026 www.italoamericano.org 28 L'Italo-Americano LOS ANGELES ITALIAN COMMUNITY moved to the United States in 2011, where I performed in concerts in Los Angeles, Las Vegas, and New York, won the Hollywood Music Awards, and had the opportunity to perform with Andrea Bocelli and David Foster. Here, I found a sense of artistic free- d o m : I w a s a b l e t o m o v e between opera, musical the- ater, crossover, and chamber music, performing in a wide variety of venues, from Walt Disney Concert Hall to the Staples Center. Let's go back to Italian Opera LAb. How did it come about? D u r i n g t h e p a n d e m i c , m a n y y o u n g s i n g e r s l o s t opportunities for training and work. I wanted to create a free program that would pass on the tradition of Italian opera while promoting the Italian language, making this kind of training accessible to emerging artists without the prohibitive costs of traveling t o E u r o p e . T h e p r o j e c t required years of preparation. I had to raise funds, find phil- anthropists, and build collab- orations with universities and theaters. The goal was to offer a comprehensive experience, f r o m v o c a l t e c h n i q u e t o stagecraft, with the involve- ment of international artists. What do you hope to pass on to your students? That the Italian language is essential. Clear, pure vowels Yes, absolutely. It is impor- tant to clarify that it was not Italian opera itself that was recognized, but the art of Ital- ian opera singing. Inclusion on UNESCO's Intangible Cul- tural Heritage list requires that the element be intangi- ble, transmitted orally and sustainably, and representa- tive of a broad and diverse community. Opera, which also includes material ele- ments such as theaters and instruments, does not fully m e e t t h e s e c r i t e r i a . T h e UNESCO recognition is not merely symbolic, it carries with it a responsibility to keep this tradition alive by actively passing it on to new genera- tions. Italian Opera LAb was created precisely with this mission: to preserve and pro- mote the language and cul- ture of Italian opera singing w h i l e c r e a t i n g c o n c r e t e opportunities for young tal- ent. Can you tell us about your professional jour- ney between Italy and the United States? I studied in Rome at the C o n s e r v a t o r y a n d a t t h e Accademia di Santa Cecilia, further refining my training through various international programs. I worked for over ten years on tour with Ennio Morricone and also collabo- rated with Nicola Piovani, the Teatro San Carlo in Naples, and the RAI Auditorium. I enable "legato," and the pho- netic structure of the lan- guage facilitates both sound production and expressive singing. This technical aspect is often overlooked outside of Italy, yet it is fundamental to p r e s e r v i n g o p e r a i n i t s integrity. During the panel, I shared an experience I had as an audience member: in cer- tain tragic moments, people w e r e l a u g h i n g b e c a u s e o f poorly translated surtitles. This illustrates just how cru- cial it is to respect the lan- g u a g e t o e n s u r e p r o p e r understanding. The goal of the LAb, therefore, is not only to teach technique, but also to cultivate a deep attention to the text, its meaning, and its authentic interpretation. W h a t d o y o u t h i n k about Italian operas per- formed in English? At first, I was opposed to it because, as I mentioned, Ital- i a n i s a n i n t e g r a l p a r t o f opera's identity and cultural heritage. Over time, however, I came to see that it can serve as a first step in engaging younger audiences. That said, it remains essential to experi- ence opera in its original lan- guage. My experience in the United States has shown me that a curious audience today can become a knowledgeable one tomorrow, ready to fully appreciate the richness of the language and the tradition. Looking ahead, what do you envision for Ital- ian Opera LAb? I am already working on the second edition. I would like to expand collaborations with universities and music departments, develop courses and panels throughout the year tied to specific com- posers or anniversaries, and extend the project to other cities. At the same time, I want to strengthen the pro- gram's structure to ensure its long-term sustainability. The collaboration with the Opera Festival of Chicago will con- tinue, as will the work with international artists. The goal is for the LAb to become a point of reference for the transmission of the Italian operatic tradition, bringing together technique, language, and culture in a way that is accessible to anyone with tal- ent and passion. ingraber, titled "The Art of Italian Opera Singing and UNESCO." The discussion explored the cultural, histori- cal, and artistic significance of Italian opera, bringing t o g e t h e r m e m b e r s o f t h e Opera Festival of Chicago, Professor Patricia Miller, soprano Elisabetta Russo, and James Tumminia, execu- tive producer of the docu- mentary Viva Verdi!. M a r k i n g t h e 1 2 5 t h a n n i v e r s a r y o f G i u s e p p e Verdi's death, the event also featured a live performance by two young artists, Caleb Alexander and Veronica Robinson, who performed excerpts from Rigoletto and La Traviata, followed by a screening of the Viva Verdi! trailer. Italian Opera LAb concluded with a masterclass at the Westside Music Con- servatory in Los Angeles for nine selected young singers. "The program covered five major operas, Rigoletto, La Traviata, Falstaff, L'Elisir d'Amore, and Le Nozze di Figaro, with a focus on dic- t i o n , i n t e r p r e t a t i o n , a n d stagecraft," Russo explains. "It concluded with a final concert in which each student performed, accompanied on piano by Chris Maldonado, completing their training experience." L e t ' s b e g i n w i t h t h e UNESCO recognition: did it influence your project? T here is a reason opera was born in Italy: there is something almost m a g i c a l i n t h e w a y t h e I t a l i a n l a n g u a g e embraces music. From the recitar cantando of early melodrama to the great arias of Verdi and Puccini, Italian fuses with the notes, trans- forming singing into poetry. It is in this spirit that Italian Opera LAb was created, a program conceived by sopra- no Elisabetta Russo in Los Angeles that offers free train- i n g t o e m e r g i n g y o u n g singers. The project emerges within a s i g n i f i c a n t h i s t o r i c a l moment: in December 2023, t h e a r t o f I t a l i a n o p e r a singing was recognized by UNESCO as an Intangible Cultural Heritage of Humani- ty. This recognition honors a living tradition, passed down from generation to genera- tion, and calls for educational initiatives that can ensure its continuity. For Elisabetta Russo, who grew up in Cal- abria and has lived in Califor- nia since 2013, preserving this tradition means safe- guarding not only the art of singing, but the very soul of Italian opera. "In the United States, I learned to see opera through a different lens: there is more openness to experimentation and to hybrid styles," Russo explains. "At the same time, I felt the need to pass on the authentic essence of Italian opera, its language and its technique, because far from Italy, it risks being lost. The LAb is meant to be a bridge between Italian culture and international training." The first edition of the ini- tiative took place from March 10 to 13 and was developed in close collaboration with the College of Humanities and the Department of Modern and Classical Languages and Literatures at California State U n i v e r s i t y , N o r t h r i d g e (CSUN), with the support of Professor Patricia Miller, Director of Special Projects in Italian Studies (MCLL), and t h e O p e r a F e s t i v a l o f C h i c a g o , represented by c o n d u c t o r E m a n u e l e Andrizzi and General Direc- tor Sasha Gerritson. One of the highlights of the pro- gram was a roundtable at The Soraya (CSUN), moderated by Artistic Director Thor Ste- I t a l i a n O p e r a L A b : t r a d i t i o n a n d t h e future of opera in Los Angeles SILVIA NITTOLI Artistic Director Thor Steingraber on stage with Professor Patricia Miller, Director of Special Projects in Italian Studies at CSUN, and Elisabetta Russo, soprano and organizer of the Italian Opera LAb (Photo: Matteo Ghidoni)

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