TO only 35 years and woman, it will be Beatrice Venezi To trace a new route for the La Fenice of Venice: it is she, in fact, with an approval that was unanimously taken place, which is was designated as a new musical director of the theaterfirst woman in the history of the Foundation. His mandate will start in October 2026 and will end in March 2030. «Venezi brings professionalism with him, International visibility and a breath of renewal for the Phoenix – said the mayor of the Lagunare city and president of the Luigi Brugnaro Foundation – an apical role in a theater of great tradition, who will now see a woman in her musical rudder».
Beatrice Venezi alla Fenice: a appointment that changes the pace
But who is Beatrice Venezi, beyond the dates and titles? He is a conductor who has chosen to stay wheretraditionally, it is difficult to even think of seeing a young woman: on the podium, in front of dozens of musicians, with the responsibility of giving shape to the sound. But she is there and is fine with uswith an instinctive, elegant, direct and passionate presence.
A presence that speaks to the public
Venezi, moreover, does not direct only scores, but It has a very clear idea of what it means to make music accessible without trivializing it: his way of being on stage, of telling the repertoire, of involving the young audience is, in fact, part of a cultural mission that goes beyond the technical gesture and that can say: Classical music is not a closed world, it is a living language.
With his appointment, Beatrice Venezi brings freshness and innovation to the La Fenice Theater, promising a season full of emotions and surprises (Getty)
What changes for the Phoenix
For the prestigious lyric theater, the appointment of Venezi has a particular meaning, it is not just a change to the Management: It is a sign of intention. Venice wants, in fact, confirm its international vocation in the lyrical panorama And he wants to do it with a figure who unites competence and presence, inside and outside the stage.
Between emotion, expectations, applause and some reserve
Beatrice Venezi commented on her appointment with emotion: “Honor and gratitude” are the first words she used, remembering how much the Phoenix has always admired. The expectations are high, primarily for the energy it promises to bring. The eyes on her are not just for the young agebut also for the already international profile, for visibility, for the promise of renewal. Venice does not only want to maintain its historical glory, but renew it, make it vibrate with new notes. As always in these cases, There are those who applaud, but also those who have some reserve. Some rumors speak of a “falling from above” appointment, of little transparency in the process, of expectations that will now have to translate into concrete realities. But Venezi, let it run and does not seem intimidated in any way.
A theater that wants to open up
The new director has already made it known that In the coming months he will meet the theater workers To start a comparison on future artistic and strategic choices with a precise goal: transform the Phoenix into a theater capable of dialogue with new audiences, without giving up its historical identity. A place of tradition, but also of research, opening and experimentation.
Beatrice Venezi: a figure that goes beyond the podium
Beyond the controversy, The appointment of Venezi is importantbut not only because she is one of the rare times when such a young woman gets a top role in a leading Italian lyric theater. It is a appointment that resonates, Because Venezi is competent and prepared in his profession and beyond. It comes from experiences that have seen her protagonist not only in concerts, but in the debates on culture and promoting music as inclusive language.
Not only music: the Phoenix as a space of ideas
So much so that the promise for the theater is not just good song or ballets: we talk about international visibility, of new energy, of a theater that you look forward and do not remain anchored only to the glories of the past. What will do to the Phoenix will inevitably be marked by this double identity: that of the director but also of a communicator, of artist, of course, but who looks beyond the notes. And with her, Venice’s expectation is to become not only a place of shows, but space for experimentation: In addition to directing an orchestra, its task will be to dialogue past and future, tradition and innovation.