La Traviata typically opens with a lavish party scene, but in her American opera debut director Stefania Panighini opted instead to explore Violetta’s life story in a more unique way. Appearing in a variety of pivotal moments throughout the production, a young ghostly apparition adds an intriguing element to a familiar story by making Violetta more complex and interesting.

Arts and Culture TX

​With skillful hand, with the agility of a magician who distracts to act, the Panighini, makes the viewers welcome the game and makes them play.

David Toschi - Operaclick

Director Stefania Panighini imbues the production with so much energy, you sit on the edge of your seat even if you know what comes to next. Every element from the set and lighting to Jarman’s makeup in the final scene is on point. This is an unmissible production of a magnificent work.

Dallas Voice

Panighini moves well the stage, the scene is beautiful, even the costumes, everybody act and in fact the show works!

Alberto Mattioli - La Stampa

the show hits the mark, goes to the heart of the spirit of the work, focusing on the theme of madness in dream-like and releasing the score from unnecessary folclorismi. The skillful construction of the characters allows the refined direction to grasp from one side the pathetic dimension in which the protagonist caresses a madness which is not nightmare but languid suspension of memories for a lost or not lived past, from the other develops the comedy with coté tones which pass through some scenes. The result surprises and honors the spirit of the work without leaving any aspect pending.

Alessandro Mormile - L'opera

The "Japanese tragedy", staged and directed by Stefania Panighini, proves pleasant and consistent performance with the choice to move the action to the years immediately preceding the outbreak of World War II. Simple projections on the backdrop contribute to "start in situation", defining the time span in which it develops the story and associating the end of that hybrid world, made at the same time both Eastern and North American culture, the tragedy of the atomic bombing in Nagasaki.

Caterina De Simone - Operaclick

The staging, real ace card of this ambitious and courageous project, is entrusted to the directing and scene setting by Stefania Panighini. The direction of Panighini is something thoughtful, dramatic and full of suffused atmosphere as to be even more revealing when compared to a few scenic resources available.

Alessandro Mormile - L'opera

T.S. Elliot wrote of the world ending 'not with a bang but a whimper' in 'The Hollow Men'. This was what I thought of as Jeruc-Kopec breathed her last in the role of Violetta - the juxtaposition of both of these things, a tremendous high in the midst of the lowest low which left the audience rooted to their seats in suspense.
If this Short Work couldn't encourage you to seek to see the full opera, nothing could.

Anna Hayes - Wexford Echo Newspaper

The innovative direction by Stefania Panighini moves the events in Cinecitta during the Fifties: the young director can handle with mastery this difficult adaptation. The link with the world of cinema is very strong, like the motor-scooter in front of the Colosseum, a clear reference to Roman Holiday.

Andrea Balestri - La gazzetta di Lucca

(Good) prepared singers are enough, directed by Stefania Panighini who loves the exhibited female intimate, but makes and has fun, the non-caustic execution, but lean and clean. Few things are as funny as the melodramatic parody of Offenbach!

Angelo Foletto - La Repubblica