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© Orchestra dell´Accademia Nazionale di Santa Cecilia
Orchestra of the National Academy of Santa Cecilia
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 August 2027 | ||||||
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Program and cast
30-31 October and 2nd November 2025
Orchestra and Choir
of the National Academy of Santa Cecilia
director Antonio Pappano
soprano Natalya Romaniw
contralto Szilvia Vörös
tenor Pavel Cernoch
bass Giorgi Manoshvili
chorusmaster Andrea Secchi
Mozart Symphony No. 41 “Jupiter”
Bruckner Mass No. 3 “Grosse Messe”
6-8 November 2025
Orchestra and Chorus
of the Accademia Nazionale di Santa Cecilia
conductor John Adams
soprano Mary Bevan (Pat Nixon)
baritone John Moore (Nixon)
baritone Alessandro Luongo (Chou En Lai)
chorusmaster Andrea Secchi
Adams Short Ride in a fast Machine
Copland Billy the kid suite
Adams Nixon in China: three scenes
Act I: Overture and Soldiers of Heaven, Arrival of Air Force 1 e News Aria
Act II
Act I Scene 3
13-15 November 2025
Orchestra
of the National Academy of Santa Cecilia,
conductor Daniel Harding,
piano, Yunchan Lim
Verdi Sicilian Vespers: Overture
Ravel Piano Concerto in G
Rachmaninoff Symphony No. 2
11-13 December 2025
Orchestra and Chorus
of the National Academy of Santa Cecilia,
conductor Tugan Sokhiev,
piano Jean-Frederic Neuburger,
chorusmaster Andrea Secchi
Beethoven Choral Fantasy
Bruckner Symphony No. 3 “Wagner-Symphonie”
18-20 December 2025
Orchestra, Chorus and Children's Voices
of the National Academy of Santa Cecilia,
conductor Daniel Harding,
mezzo-soprano Wiebke Lehmkuhl,
chorus master Andrea Secchi,
children's choir master Claudia Morelli
Mahler Symphony No. 3
8-11 January 2026
Orchestra
of the Accademia Nazionale di Santa Cecilia,
conductor Manfred Honeck,
piano, Seong-jin Cho
Weber Oberon:
Tchaikovsky Overture Piano Concerto No. 1
Dvořák Symphony No. 8
15-17 January 2026
Orchestra and Chorus
of the National Academy of Santa Cecilia,
conductor Rinaldo Alessandrini,
soprano Silvia Frigato,
soprano II Marianne Beate Kielland,
contralto Sara Mingardo
, tenor Jorge Navarro Colorado,
bass Lisandro Abadie,
chorus master Andrea Secchi
Vivaldi Introduction to the Dixit Dominus “Sing in the meadow, laugh in the fountain” RV 636
Vivaldi Dixit Dominus RV 595 (of Prague)
Vivaldi Concerto di San Lorenzo RV 556
Bach Sinfonia from the Cantata BWV 174
Bach Magnificat BWV 243
22-24 January 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Juraj Valčuha,
piano Bezhod Abduraimov
Rachmaninoff Piano Concerto No. 3
Bartók Concerto for Orchestra
29-31 January 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Daniele Gatti,
piano Lukas Sternath
Brahms Variations on a Theme by Haydn
Schumann Piano Concerto
Brahms Symphony No. 3
5-7 February 2026
Orchestra and Chorus
of the National Academy of Santa Cecilia,
conductor Lorenzo Viotti,
cello Sheku Kanneh-Mason
Elgar Cello Concerto
Tchaikovsky Symphony No. 5
12-14 February 2026
Orchestra and Chorus
of the National Academy of Santa Cecilia,
conductor Alexander Soddy,
soprano Golda Schultz,
baritone Mikhail Timoshenko
Fauré Pavane
Fauré Requiem
Ravel Shéhérazade
Ravel La Valse
19-21 February 2026
Orchestra
of the National Academy of Santa Cecilia
director Petr Popelka
piano Hélène Grimaud
Martinů Thunderbolt P-47
Gershwin Concerto in F
Tchaikovsky Francesca da Rimini
Stravisnkij The Firebird Suite 1919
26-28 February 2026
Orchestra and Chorus
of the Accademia Nazionale di Santa Cecilia,
conductor Daniel Harding
soprano Katharina Konradi
tenor Andrew Staples
bass Michael Nagy
choirmaster Andrea Secchi
Haydn The Creation
5-7 March 2026
Orchestra and Chorus
of the National Academy of Santa Cecilia,
conductor Teodor Currentzis,
piano, Yuja Wang, bass, Alexey Tikhomirov
choirmaster Andrea Secchi
Prokofiev Piano Concerto No. 2
Shostakovich Symphony no. 13 “Babi Yar”
12-14 March 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Daniel Harding,
piano Daniil Trifonov
Brahms Piano Concerto No. 2
Dvořák Symphony No. 7
26-28 March 2026
Orchestra
of the Accademia Nazionale di Santa Cecilia,
conductor Sir John Eliot Gardiner,
piano Alessandro Taverna
Schumann Genoveva Overture
Prokofiev Piano Concerto No. 3
Sibelius Symphony No. 5
2-4 April 2026
Orchestra, Chorus and Children's Voices
of the Accademia Nazionale di Santa Cecilia
conductor Riccardo Minasi
bass Cody Quattlebaum (Jesus)
tenor James Gilchrist (Evangelista and Arias)
soprano Jane Archibald
contralto Sophie Rennert
tenor Linard Vrielink
bass Edwin Crossley-Mercer
choirmaster Andrea Secchi
children's choirmaster Claudia Morelli
Bach St. Matthew Passion BWV 244
9-11 April 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Daniel Harding,
piano Igor Levit
Brahms Piano Concerto No. 1
Elgar Enigma Variations
23-26 April 2026
Orchestra and Chorus
of the National Academy of Santa Cecilia,
conductor Myung-Whun Chung,
soprano Ailyn Pérez,
mezzo-soprano Ekaterina Semenchuk,
tenor René Barbera,
bass Roberto Tagliavini,
chorus master Andrea Secchi
Verdi Requiem Mass
30 April- 3 May 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Joana Mallwitz,
violinist Augustin Hadelich
Kodály Dances of Galánta
Tchaikovsky Violin Concerto
Beethoven Symphony No. 5
7-10 May 2026
Orchestra
of the Accademia Nazionale di Santa Cecilia,
conductor Daniel Harding,
violin, Gil Shaham,
soprano, Christiane Karg
Shor Violin Concerto No. 7 Italian premiere
Mahler Symphony No. 4
14-16 May 2026
Orchestra and Chorus
of the Accademia Nazionale di Santa Cecilia,
conductor Daniel Harding,
soprano Corinne Winters
Vacchi All in All world premiere – new commission from the Accademia di Santa Cecilia
Strauss Death and Transfiguration
Strauss Salome
Dance of the Seven Veils
Final Scene “ Ah, you wolltest mich nicht deinem Mund küssen”
21-23 May 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Semyon Bychkov,
piano Emanuel Ax
Mozart Piano Concerto No. 22 K482
Strauss Alpine Symphony
28-30 May 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Antonio Pappano,
violinist Leonidas Kavakos
Shostakovich Violin Concerto No. 1
Schubert Symphony No. 9 “The Great”
4-6 June 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Cristian Macelaru,
piano Kirill Gerstein
Barber Symphony No. 1
Gershwin Rhapsody in Blue Gershwin An American in Paris
Ravel Boléro
11-15 June 2026
Orchestra and Chorus and Children's Voices
of the National Academy of Santa Cecilia,
conductor Charles Dutoit,
Margherita Marianne Crebassa, mezzo-soprano
Faust , Julien Dran, tenor
Mefistofele, John Relyea , bass
Brander, Jonathan Lemalu, bass,
chorus master Andrea Secchi,
chorus master Claudia Morelli
Berlioz The Damnation of Faust
18-20 June 2026
Orchestra
of the National Academy of Santa Cecilia,
conductor Jakub Hrůša,
violinist Karen Gomyo
Mendelssohn A Midsummer Night's Dream: Overture
Mendelssohn Violin Concerto
Tchaikovsky Symphony No. 4
Auditorium Parco della Musica
The Rome Auditorium is a multi-functional complex dedicated to music, contributing to enrich the already immense patrimony of the Eternal City.
The project is dominated by three “harmonic cases” that seem to fly above a sea of vegetation.
While we wait to welcome you, we'd like to remind you of some details regarding entry procedures and times:
· In accordance with the Maroni Decree 2009/94, security checks will be carried out at the entrance, we therefore invite the public to go to the Auditorium Parco della Musica Ennio Morricone well in advance
A structure of this kind could not have been built in Rome's densely-packed historic centre. The site chosen for the construction of the Auditorium is on the narrow plain that stretches from the banks of the Tiber to the Parioli hill, located between the Olympic Village built for the 1960 Games and the Palazzo dello Sport and Stadio Flaminio, designed by Pierluigi Nervi.
A site removed from the city centre offered the advantage of being able to welcome and easily handle a large public (thanks to pre-existing infrastructure nearby), as well as occupying a space that for a long time had been a kind of artificial fracture, a “hole” in the city fabric.
The “city” of “music” thus became a new urban element. The fracture has now been absorbed in a park of some 30,000 square metres, planted with 400 trees. The luxurious vegetation that acts as a link with the Roman quarter of the Flaminio, adjacent to Villa Glori, opens to leave space for an pen-air theatre, an urban focal point that provides space for a fourth hall outdoors, designed for staging shows and concerts and capable of seating around 3,000 spectators.
The complex also includes a series of spaces for commercial, recreational, exhibition and study activities.
The entire project respects all existing Italian legislation relating to visual and motor disabilities. Those with motor disabilities have been provided with security exits, fire-proof elevators, safe locations and a reserved seats in concert halls. Tactile maps and route-ways have been designed for those with visual disabilities.
THE STRUCTURE
The entire urban space and architecture to the implementation of large complex musical Auditorium revolves around the idea of the centrality of the main music.
All spaces, both internal and external, are designed in a functional manner to the music. For the musical activities do not exist then only three rooms, but also the Studio Theatre, Studies 1, 2, 3, the foyer and the auditorium.
The three rooms of different sizes and different functional purpose, they are able to cover all the musical demands required: the Sala Santa Cecilia, intended for symphonic concerts for large orchestra and chorus; Sala Sinopoli characterized by a greater flexibility acoustics, adaptable to many different types of music also by virtue of the different positions assumed by the orchestra to the audience; Sala Petrassi, thanks to changes in both the sitting position of the public, both the position of the sound sources, both of the reverberation time of sound, is aimed at the newest and most contemporary musical genres, including theater plays and movies. The Studio Theatre, with its 350 seats is a multifunctional space.
Studio 1, 2, 3, are important areas of music, just more technical, which allow you to perform the tests always in optimum acoustic conditions.
The foyer same, on special occasions, is able to accommodate simple musical performances.
The Cavea, which is the heart of the Auditorium outdoor amphitheater, which can accommodate up to 3,000 spectators, is finally a musical space particularly interesting.
In addition to all these activities purely musical, a new auditorium also offers spaces for conferences, debates, meetings with composers and performers; study and research (library and music library); Teaching (and research laboratories vocal music and multimedia). Places where perfect spots such as the bookshop, bar, restaurant.
SALA SANTA CECILIA
This room is designed primarily for symphonic music. Its peculiarity acoustics, the reverberation time is 2.2 seconds allows, in an optimal condition of listening, performing also works in concert form, sacred music, chamber and contemporary art.
The architectural design as a whole achieves a volume of 30,000 cubic meters.
The supporting structures of coverage, with special dimensions, are constructed by warping of laminated wood beams, associated with steel elements.
The stage is almost central position, surrounded by the "vineyard" seating arranged on ledges at different levels, which are built around the orchestra.
The ceiling, a true conceptual innovation, consists of 26 shells in American cherry wood, each of which has an average area of about 180 square meters. The wood also holds the stalls and galleries making the room a sound box from the acoustic behavior optimal.
SALA SINOPOLI
This room contains mostly symphonic music, with or without chorus, and chamber music, and is marked by the great flexibility of the stage.
In fact the adaptable size of the stage, the choir, the orchestra and workstations allow the public, both in the audience that backstage, to play with the reverberation of the sound and offer the possibility to accommodate dance performances, concerts of contemporary music and more.
SALA PETRASSI
The smaller room is a true musical theater with orchestra pit and stage equipped with the possibility of change of scene and costume.
The two short walls of the stage can be rotated 90 degrees making a traditional proscenium curtain with Italian so as to allow the representation of operas and plays. Conversely, when the same walls are closed, creating a stage in so-called "open stage" allowing you to perform concerts of chamber music, baroque and symphonic music, theater pieces and the representation of the projection of films.
FOYER
The large foyer, which combines access to three rooms, is not only a point of meeting and gathering, but also a multipurpose area that houses inside the exhibition space "Resonance" and the Archaeological Museum Auditorium.
Along the Foyer leads a light path of 20 installations, made with neon Tuscan artist Maurizio Nannucci. The work of a permanent character, was conceived and designed exclusively for the Auditorium Parco della Musica.
CAVEA
The Cavea entitled to Maestro Luciano Berio, is physically the focus of the project: its dual function as open-air theater and the square, making it the centerpiece of the new centrality of the complex compared to the urban system.
The Cavea has become over time a meeting point, a place increasingly included in the urban assuming a real function of the square.
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