Carlo Fuortes, one year at the head of the Maggio Musicale Opera House

Our interview with the superintendent, who tells us about the revival of the theater between tradition, experimentation and new languages

He is one of Italy’s greatest theater superintendents. Definitely among the most experienced ones. Carlo Fuortes has 12 years of experience behind him at Rome’s Auditorium Parco della Musica, 10 years at Rome’s Opera Theater, he served as special commissioner for Bari’s Petruzzelli Theater for one year and for Naples’s San Carlo Theater, not to mention his experience as RAI’s MD from 2021 to 2023, under the Draghi Government. He arrived in Florence, at the Maggio Musicale Fiorentino Theater, on March 2024, and everything took a turn for the better, that of operatic art and music going back to being alive and appealing.

The Main Hall of the Maggio Musicale Opera House

Superintendent Fuortes, after a year at the head of the Maggio Musicale Fiorentino Theater, how would you rate this first period?

I can say that things have gone very well so far, well beyond expectations. The theater had experienced some difficult years and I found a situation that needed to be rebuilt from scratch after the appointment of an external commissioner. For those who love their job, however, this is the best of challenges: rethinking a project and breathing new life into a great cultural institution.

What was your vision for the relaunching of the theater?

Florence and the Maggio Theater have a great tradition that we had to respect, but also innovate. I relied on three pillars: the Maggio’s identity, the orchestra’s and chorus’ artistic value and the overall quality of the organizational machine. An artistic and cultural transversal approach was one of the key features of the project. The Maggio Theater has always been able to combine great tradition and experimentation and our goal is to keep going down this path.

What was the turning point of this growth process? Definitely advance planning, as at all great international theaters. This allowed us to attract better artists, save on costs and boost ticket sales by appealing to an international audience.

Artistic innovation is one of the hallmarks of your management. What are the program’s most significant additions up to autumn, including the Maggio Musicale Festival? We got world-famous directors involved, even those from other artistic fields. Emma Dante, Wim Wenders, Mario Martone and Romeo Castellucci will bring their unique visions into our theater. Castellucci, for instance, will stage a completely new version of the St. Matthew Passion by Bach, by setting it in the back of the stage. Innovation is crucial to keeping opera music alive: it should not be a museum of the past, but a living art that speaks the language of the present.

Are there going to be new opera productions too?

Yes, this is a key aspect of our commitment to the theater’s relaunching. During the Festival, for instance, we will stage Der junge Lord by Hans Werner Henze, which has never been performed in Italy before. A theater such as ours has an obligation to give space to contemporary music, not only to the great classics.

The Maggio Academy is enjoying a phase of great vitality. What is your role in the overall project? The Academy is the theater’s pride and joy. We select talented young people from all over the for a top-level training experience which includes taking part in our productions. They work with great conductors and directors, getting ready for the job market. It is a bridge between training and working life.

Your management re-established a good relationship between the people working at the theater. What is your secret? The Maggio orchestra’s and chorus’ value is very high and it needed to be promoted through quality planning. Furthermore, a more peaceful and well-structured management improved the workplace atmosphere.

La traviata © Michele Monasta (9)

The Maggio Theater can rely on a building of extraordinary quality. How important has this been for your relaunching project?

Our theater features extraordinary acoustics, both in the main hall and in the Mehta Hall. It is a very modern structure, unique of its kind in Italy. The turning point was realizing that the Maggio Theater is not only for Florence, but a national and international resource. It is a very demanding challenge, but I believe we are on the right track.

In conclusion, how did you develop a passion for music?

My mother encouraged me to study music ever since I was a child. Later on, growing up, I pursued this passion even through photography: between 1976 and 1988, I worked as a photographer in the world of opera music, even at the Maggio Theater. I have always striven to combine my economics background with culture, because the theater is not only about art, but also about management. My professional career has allowed me to bring these two aspects together and today I feel very lucky to be able to do it here, in Florence, at one of the world’s greatest theaters.