La Fenice in Venice: a political choice that could be a good deal, however.

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Beatrice Venezi will become musical director of La Fenice (okay, we know she wants to be called director, but the Italian language has rules that apply to both the left and the right, and indeed, they should apply more to the nationalist-sovereignist right). She will take office in October 2026 and serve four years. Venezi is a good title in Venice, and perhaps for the opera house, having a young, attractive woman permanently in charge is, in terms of image, also a good deal. However, there's no doubt that it's a political choice, and only a political one. The right governs Venice, in a perfect state-region-municipality alignment , and at La Fenice they've placed Nicola Colabianchi as superintendent and artistic director, who admittedly hadn't done particularly well at the Cagliari Opera House but was promoted anyway (it's a government of merit, as we know, but it's also a factor that, in the cultural field, the right has more positions to hand out than barely presentable asses to fill them).

Anyone even vaguely familiar with what we're talking about, opposing fan bases aside, is aware that this lady's resume, though recently shrunk, is not worthy of a musical director of what in the 19th century, along with La Scala and the San Carlo, formed the trinity of "top-notch" theaters, a theater with a daunting history and traditions. For that role, there are at least twenty national conductors with more musical substance (but certainly less media traction), if we were to count them downwards. The person before her who served as de facto musical director at La Fenice, without the title but essentially fulfilling its functions, was Myung-whun Chung . Now, it's not a question of right or left to note that, in terms of career, accolades, experience, and critical acclaim, there's more or less the same gulf between Chung and La Venezi as there is between Indro Montanelli and myself.

That said, the outrage already spilling over onto social media is perhaps justified, but—how can I put it?—unfounded. For years, Beatrice Venezi's true artistic qualities have been debated, especially by those who aren't qualified to do so. Let's try to think positively. Venice is a highly exposed place, and La Fenice is a theater that, for many reasons, is not easy. You can't bluff. Venezi had the opportunity for the reasons we know, but now try to make the most of it. Let her work, direct, make her artistic and cultural mark, and we'll finally see if and how much she's worth. Best of luck, indeed, to the Lion.

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