Riccardo Frizza, the Musical Director and Artistic Director of the Bergamo Donizetti Opera Festival and Honorary Conductor of the Hungarian Radio Symphony Orchestra and Choir, is widely regarded as one of today’s leading conductors, regularly collaborating with the world’s most prestigious opera houses.

He has conducted at many of the major theaters in the world Teatro Comunale, Bologna, ABAO Bilbao Opera, Teatro San Carlo, Metropolitan Opera, Gran Teatre del Liceu and Teatro La Fenice, among many others.

But perhaps, he is best known for his interpretations of the Bel Canto repertoire. Recently Frizza made his Royal Opera House debut conducting “I Puritani” and is set to conduct Norma this summer at the Savonlinna Opera Festival.

OperaWire spoke about to the maestro about “I Puritani,” his collaboration with Lisette Oropesa and his passion for Bel Canto music.

OperaWire: Tell me about debuting at the Royal Opera House and what makes this house special?

Riccardo Frizza: Making my debut at the Royal Opera House in London is extremely important to me. Arriving here after a twenty-five year career is a source of great pride, especially because I have reached this stage with the artistic maturity needed to conduct “I Puritani.” This opera has allowed me to bring together my affinity for this repertoire and the knowledge I have gained through years dedicated to Bel Canto. It has been a very positive experience because both the chorus and the orchestra fully embraced my musical ideas and understood the essence of Bellini’s style and aesthetics. The prestige of the theatre and the dedication of its audience make this achievement even more meaningful. Moreover, “I Puritani” had not been staged here for more than three decades, making this production a particularly significant event.

OW: I Puritani has not been performed in 35 years. Does this add pressure when you conduct this important piece or do you think it gives you a chance to reintroduce the piece to the ROH?

RF: Yes, the fact that “I Puritani” had not been performed at Covent Garden for nearly thirty- five years certainly added pressure, especially because expectations were so high. The last great artists to sing the work here included June Anderson and Joan Sutherland, two legendary figures in the Bel Canto tradition. “I Puritani” is also a very difficult opera to cast, as finding singers capable of performing it at the highest level is a major challenge. For that reason, I am delighted that the Royal Opera House succeeded in bringing together such an outstanding cast, capable of delivering a truly exceptional musical and artistic performance.

OW: This is Bellini’s final opera. How do you think the composer developed from his works like Norma and Sonnambula to Puritani?

RF: Unfortunately, “I Puritani” was Bellini’s final opera because he died far too young. We can only imagine how far his artistic development might have gone. Looking at “La sonnambula,” “Norma” and “I Puritani,” we can see a fascinating evolution. “La sonnambula” is probably the work that comes closest to “I Puritani” in terms of orchestration and musical ideas. “Norma,” on the other hand, belongs to a completely different world: it is more dramatic, more heroic, and centered on conflict and war. “I Puritani” stands apart because of its transparency, elegance and extraordinary musical refinement. It feels like a work already looking towards the future, which makes Bellini’s premature death all the more tragic.

OW: The plot of this opera is often criticized. As a conductor how do you tell the story of Elvira and everything surrounding her to bring clarity to what Bellini wanted to convey?

RF: The plot of “I Puritani” is often criticized for its complexity. However, clarifying the narrative is primarily the director’s responsibility. As a conductor, my task is to reveal the emotions and psychological states that Bellini expresses through the music. In this respect, Bellini helps us enormously because the score is extraordinarily written. Elvira’s mad scene, for example, guides us through her inner world with intense melodies, sudden modulations and striking harmonic shifts. While the political and historical background may be difficult to follow, the music itself communicates the emotional drama of the characters with remarkable clarity and power.

OW: How has it been to work with Richard Jones and did you two work to bring the work to life?

RF: Working with Richard Jones has been a fantastic experience. I have worked with many terrific directors throughout my career, but Richard is truly a great man of the theatre. I learned a great deal from his working method, which encourages artists to explore the psychological and dramatic dimensions of their characters in depth. He builds performances gradually, constantly refining details and deepening the dramatic situation. What I admired most was his close relationship with the music. In this production, everything grows out of the score: the pacing, the dramatic structure and the storytelling are all driven by the music itself.

OW: Lisette Oropesa is known for her interpretation and Bel Canto roles. Tell me about your collaboration with her and how does this set you up for the upcoming “Norma?”

RF: Lisette Oropesa is one of the finest interpreters of the Bel Canto repertoire. I had the opportunity to record “I Puritani” with her, and from our very first rehearsal we developed an extraordinary musical understanding. Before that project we had never worked together, yet the connection was immediate. When we reunited in London for this production, it felt as though we simply continued the work we had begun during the recording sessions. That mutual trust provides an excellent foundation for our next project together, her debut as Norma. We have already begun exploring the character, analysing the drama and studying how Bellini’s musical language reflects the psychology of the role.

OW: You are having a Bellini season with “La Sonnambula” and next “Norma.” What is your favorite score of the three or what is your favorite parts of these scores?

OW: Having recently conducted three Bellini masterpieces, I would probably choose “I Puritani” as my favorite. I consider it a revolutionary work, full of innovations and already pointing towards the future. What fascinates me most is the extraordinary balance between the drama and Bellini’s great melodic lines. The way he combines theatrical expression with lyrical beauty is almost miraculous, and that is why “I Puritani” is probably the Bellini opera closest to my heart.

OW: You have “Aida” at the Teatro San Carlo in concert. What are you looking forward to about that performance and how do you approach a concert reading?

RF: “Aida” is one of my favorite operas, and I am delighted to conduct it at Teatro San Carlo with such a distinguished cast. Conducting a concert performance of an opera is very different from conducting a staged production because the visual and theatrical elements are absent. This requires a deeper focus on the musical and psychological dimensions of the work. There are also technical challenges, particularly in balancing orchestra, chorus and soloists. At the same time, the concert format offers unique opportunities, allowing us to concentrate entirely on the music and to explore details and nuances that are sometimes more difficult to achieve in a fully staged production.

OW: The end of the year always brings the Donizetti Opera festival. Now as Artistic Director, how do you hope to shape the festival? Please tell us about the 2026 season and the works chosen for performance.

RF: Since becoming Artistic Director, one of my main goals has been to strengthen the international profile of the Donizetti Opera. The festival is growing rapidly, and we are working hard to attract outstanding artists and young directors from abroad. This year, for example, the opening production, “L’esule di Roma,” will be entrusted to the German director Katharina Thoma, whose artistic vision I greatly admire. Looking ahead, I want to continue expanding the festival’s international reach while remaining committed to rediscovering rare and neglected Donizetti works. Operas such as “L’elisir d’amore,” “Don Pasquale” and “Lucia di Lammermoor” can be heard all over the world, but lesser-known titles are at the heart of our mission. A musicological festival has the responsibility to bring these forgotten masterpieces back to life and make them accessible to modern audiences.