Today people who visit the Arena, attracted by its antiquity and its impressiveness, cannot help but imagine the amphitheatre full of spectators impatiently awaiting to be enchanted by music in front of a stage ornate with magnificent scenery. By now, the opera in the Arena is an occasion not be missed for those visiting Verona, which has been the most important city in the world for lyrical performances dating back to the year 1913, when the festival that takes place every year began.

The festival in the Arena is a fascinating tradition because it is made up of eighty opera seasons, ballets and concerts which were performed one after the other on the enormous stage which offers great performances by prestigious artists. Some of these artists arrived in Verona when they were not very well known and left the city ready to engage in a successful career, thanks to the Verona amphitheatre.

From left to right: the Conductor Antonino Votto, Maria Callas and Alberto Tantini, who was General Manager at that time (1952)

A certain Maria Callas was one of these semi-known artists. She arrived in Verona in 1947 from New York after a dreadful crossing, carrying a cardboard suitcase with very little money in her pocket. She played the part of 'Gioconda' by Ponchielli beautifully, so much so that it allowed her to finally blossom in the world of music. Her Veronese experience lasted until 1954.

There were other artists who sang on the stage in the Arena, who could already boast a reputation which was so remarkable that their performances led to the amphitheatre overflowing with spectators: in 1929 the voice of Beniamino Gigli enthralled both passionate and non passionate music lovers. He sang in the opera 'Marta' by Flotow and his performance caused the excitement of the crowd to reach fever pitch. Even in the most recent years Verona has been able to boast performances of the most beautiful voices in the musical world, and has honoured them by giving gala concerts which are always very much appreciated by the public.

Besides the singers, illustrious directors and scenographers worked hard to make the performances prestigious in the Arena. In 1953 the famous cinema director Georg Wihelm Pabst came up with the idea of a water pool for 'Aida' to conjure up the image of the Nile on which little Egyptian boats could sail. This idea was adapted by Pier Luigi Pizzi to suit 'Aida' in 1999. It was Pabst who was responsible for the introduction of a great number of animals on stage: elephants, horses and dromedaries. One of these dromedaries took off into the city but was finally recaptured in Piazza Cittadella, a short distance away from the amphitheatre.

Aida in 1953 with the water pool (the Nile), this was the first time water was used on the stage. The Egyptian boat is transporting Amneris to the temple.

Aida in 1953 with the water pool (the Nile), this was the first time water was used on the stage. The Egyptian boat is transporting Amneris to the temple.

Returning to the discussion on the protagonists of the performances in the Arena, it is important to mention that there were also disagreements among the artists, such as in 1955 between Roberto Rossellini and Mario Del Monaco. Smoke from one of the festive scenes in Otello nearly suffocated the singer who was momentarily incapable of continuing his rendition. The opera concluded in a regular way, but a quarrel began from that episode between the singer and the director and the latter abandoned his assignment.

It is also important not to forget the dance performances. Along with the Nutcracker Suite, Swan Lake, Cinderella - always performed by great dancers like the graceful Carla Fracci - the stage hosted traditional dances from all over the world.

The choreography of Maurice Béjart is worth being mentioned: in 1975 the company Ballet du XX siècle of the Theâtre Royal de la Monnaie and the Corps de Ballet of the Arena danced together to the music of Beethoven's 9th symphony. The première was disturbed by the rain and the orchestra and the choir had to leave the stage, but the great French Choreographer decided to continue with the performance with the help of a music cassette: the public didn't move and remained in the rain until the end of the ballet . There was a grand finale with a reciprocal applause from both the dancers and the spectators.

One of the elephants that took part in the 1954 performance of Aida in the Arena

The Arena di Verona has become distinguished through the years also as a result of symphonic and choral concerts. In this great shell-like stone building the music by Beethoven, Bach, Berlioz, Händel, Prokofiev and many other great composers takes on a new charm.

Delightful and also unpredictable: this is what to expect from the Arena. In the stalls and in the box of honour, people of authority and celebrities parade in evening wear, to the delight of the curious onlookers who have already been waiting for some time on the steps. For these spectators going to the Arena means long queues in front of the gates and arriving equipped with everything needed for an excursion: rucksacks, raincoats, food and, last but not least, the libretto and 'mocoleto' (the candle to create a beautiful atmosphere once night has fallen). They are also ready to challenge the bad weather, just as long as they can attend the performance. This is also part of the game, but each evening the public enters into the Arena anxious and curious but trusting. One leaves entranced, fascinated and enthusiastic: a truly unforgettable evening.

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