Search

Actu Foot stated, citing Opta Paolo, that it was the first time in the history of the Champions League that four Italian clubs lost on the same day. The account indicated that Inter lost to Bruges, Napoli lost to Villarreal, Como lost to Feyenoord, and AS Roma lost to Real Madrid. #LiguedesChampions #Football #SerieA (translated)

🎙️Khvicha Kvaratskhelia 🇬🇪: « Quand j’étais à Naples, Ousmane m’a suivi sur Instagram. Au début je pensais juste qu’il s’était trompé. Et après quand je suis arrivé ici (à Paris), je lui ai demandé pourquoi il m’avait suivi. Il m’a dit qu’il regardait des matchs de Naples avec ses amis et quand je l’ai followback, il a pu leur dire “Regardez il me suit !” Maintenant nous sommes amis. » (BBC) #Football #Amitié #Naples

🔴🔵📣 Kvara a la BBC : « Quand j’étais au Napoli, Dembélé s’est abonné sur mon compte Instagram, j’ai cru qu’il s’était trompé (rires). Quand je suis arrivé au PSG, je lui ai demandé pourquoi, et il m’a dit qu’il regarde les matchs de Naples et qu’il adore mon style de jeu ! » « J’ai montré à mes amis qu'Ousmane Dembélé était abonné à mon compte Instagram ! Maintenant, nous sommes amis ! C’est un gars qui a toujours le sourire, et il est toujours positif !» #football #PSG #Napoli

La police italienne a découvert 3,2 millions d'euros en espèces cachés dans les murs d'une maison lors d'une perquisition, vraisemblablement liés à la mafia, dans le cadre d'une opération contre la criminalité organisée et le trafic de drogue à Naples, avec 34 arrestations à la clé. #Mafia #CriminalitéOrganisée #Naples

AUJOURD’HUI ON SE BARRICADE, ON S’ASSEOIT SUR LE CANAPÉ ET ON PROFITEEEEEEE 🛋️🍿 (avant 3 semaines de trêve…) 🗓️ 𝗣𝗥𝗢𝗚𝗥𝗔𝗠𝗠𝗘 𝗙𝗢𝗢𝗧 𝗖𝗘 𝗗𝗜𝗠𝗔𝗡𝗖𝗛𝗘 👇 🇮🇹 FIORENTINA-NAPLES ⏱️ 12h30 sur DAZN 📺 🏴󠁧󠁢󠁥󠁮󠁧󠁿 MAN. CITY-SUNDERLAND BOURNEMOUTH-LIVERPOOL ⏱️ 15h00 🇪🇸 ATLETICO-REAL MADRID ⏱️ 16h15 Prise d’antenne à 15h30 sur DAZN 📺 🇫🇷 NICE-LILLE ⏱️ 17h15 sur Ligue 1+, service disponible sur DAZN 📺 🏴󠁧󠁢󠁥󠁮󠁧󠁿 FULHAM-MAN. UNITED ⏱️ 17h30 🇮🇹 JUVENTUS-ATALANTA ⏱️ 18h00 sur DAZN 📺 🇫🇷 OM-PSG ⏱️ 20h45 sur Ligue 1+, service disponible sur DAZN 📺 🇵🇹 PORTO-BENFICA ⏱️ 21h30 TOTAL RÉGAL 😁 🤝 en collaboration avec DAZN #Football #DAZN #Sports

MAIS QUI VA ARRÊTER CÔME ??! 💙🤍🤯 10 points sur 12 possibles après quatre journées de Serie A. Le club de Cesc Fàbregas poursuit sa montée en puissance avec un début de saison impressionnant : ✅ VICTOIRE (2-1) vs Parme ✅ VICTOIRE (4-1) vs Leipzig en LDC ✅ VICTOIRE (4-1) vs Genoa ✅ VICTOIRE (2-1) vs Naples 🤝 MATCH NUL (1-1) vs Udinese #SerieA #Football #CÔME

🎙️ À Naples 🇮🇹 vous ne pouviez pas faire un pas dans rue sans être accosté. Est-ce plus simple à Paris ? 🗣️ Khvicha KVARATSKHELIA 🇬🇪 : « OUI C’EST BIEN MIEUX ICI, CAR IL Y A BEAUCOUP DE TOURISTES ! 😁🗼 Certains d’entre eux ne connaissent pas grand- chose au football. À Naples, JE PENSE QUE LES GENS VIVENT TOUS POUR ÇA ! » 🎙️ France Football #Football #Tourisme #Naples

🚨🚨 KHVICHA KVARATSKHELIA 🇬🇪 EXPLIQUE POURQUI IL S’EST MIS AU SERVICE DU COLLECTIF AU PSG 👇 : 🗣️ « Je n’étais pas le même type de joueur à Naples. ❌ En arrivant ici, JE ME SUIS APERÇU À QUEL POINT L’ÉQUIPE SE DONNAIT À FOND et me respectait. En retour, JE ME DEVAIS DE LUI DONNER LE MEILLEUR DE MOI-MÊME ! Car elle le méritait. Et sous les ordres de Luis Enrique 🇪🇸, j’ai pris conscience que je devais être à mon maximum, car chaque joueur a l’étoffe d’un titulaire. Si vous faites une seule erreur, VOUS POUVEZ VOUS RETROUVER SUR LE BANC. Alors je fais de mon mieux pour aider l’équipe à défendre ou à attaquer. JE VEUX TOUT DONNER POUR CE CLUB ! ❤️💙 » 🎙️ France Football #Kvaratskhelia #PSG #Football

🧦 LA RAISON SUR LES CHAUSSETTES COURTES DE KVARATSKHELIA 🇬🇪 😁👇 🗣️ « Lors de mon premier match avec Naples, j’avais des crampes après 35 minutes. Comme c’était mon premier match, j’étais peut-être stressé. JE ME SUIS DIT QUE BAISSER MES CHAUSSETTES POUVAIT AIDER POUR MES CRAMPES. Puis… J’AI MARQUÉ ! ⚽️ Je me suis dit que ça me portait chance et je n’ai plus jamais changé… » 🎙️ @TheAthleticFC #Kvaratskhelia #Naples #Football

🚨 NOA LANG 🇳🇱 A ÉTÉ VOLONTAIREMENT ÉCARTÉ DU MATCH FACE À ARSENAL HIER PAR NAPLES !!! 🤯❌ Le joueur s’est ACCROCHÉ AVEC SON COACH MASSIMILIANO ALLEGRI 🇮🇹 à l’entraînement devant tout le monde. 😳 Il était furieux d'apprendre qu'il débuterait sur le banc. 🗞️ @mattinodinapoli via @Guillaumemp #Naples #Football #Transferts

The Vindication of the “GIO Festival”: “BroadwayWorld” Celebrates Marina and the Umberto Giordano Theatre of Foggia SOURCE: https://www.linkedin.com/pulse/vindication-gio-festival-broadwayworld-celebrates-sardella-ph-d--8zzce/ SOURCE: https://www.letteremeridiane.org/2026/08/la-rivincita-del-gio-festival-broadwayworld-celebra-marina-e-foggia/ The GIO Festival has been, to put it mildly, overlooked by Rai3 Puglia and several regional outlets. Yet the festival dedicated to Umberto Giordano — promoted by the Chamber of Commerce of Foggia together with the Municipality and the Province, and supported by the Apulia Region and the Fondazione Monti Uniti — has achieved a remarkable vindication, landing on the homepage of BroadwayWorld thanks to the world première of the opera Marina, staged on 5 June at the Umberto Giordano Theatre in Foggia. This is no small feat, considering that BroadwayWorld is among the most influential American platforms devoted to theatre and the performing arts. The transatlantic debut of the opera by Foggia’s great composer did not escape the attention of Luciano Magaldi Sardella, who submitted to the editorial board of Lettere Meridiane an in‑depth and compelling contribution, reproduced below. In the article, the author masterfully reconstructs the extraordinary story of Giordano’s first opera, composed in 1888 and left without a staged production for 138 years, until its historic performance on 5 June at the Giordano Theatre. Above all, he recounts how the inaugural edition of the GIO Festival has restored Foggia to the centre of the international operatic stage, through the rediscovery and valorisation of Marina, the involvement of major musical institutions, and the attention of the American press. It is a stimulating reflection on the cultural and identity‑driven renaissance of a city that, for far too long, bore Giordano’s name on the façade of its theatre without managing to turn it into a lever of international visibility. (g.i.) + + + + + There are moments in the life of a city when past and future clasp hands upon the stage of the present. Foggia experienced one of these moments on the evening of 5 June 2026, when the curtain of the Umberto Giordano Theatre rose upon Marina, an opera composed in 1888 by a young man of twenty‑one — Umberto Giordano — then a student at the San Pietro a Majella Conservatoire in Naples. After one hundred and thirty‑eight years of silence, that score finally found its first scenic breath in the world. “It is not an ordinary event. It is a turning point. A void filled. A story rewritten.” Umberto Giordano, one of the most celebrated verismo composers of the fin‑de‑siècle — born in Foggia, author of masterpieces such as Andrea Chénier, Fedora, Siberia — had remained, until now, the only great Italian opera composer without a festival entirely dedicated to his oeuvre. A paradox that weighed like a historical injustice upon a city that bears his name engraved on the pediment of its most beautiful theatre. This is the extraordinary journey of Marina, Giordano’s first opera, which after 138 years of oblivion received its world première in scenic form on 5 June 2026 at the Umberto Giordano Theatre in Foggia, as the opening event of the GIO Festival — the inaugural edition of the Giordano International Opera Festival. The manuscript, preserved in the Frederick R. Koch Collection at Yale University’s Beinecke Rare Book and Manuscript Library, has travelled an astonishing path: from the elite libraries of America’s East Coast to the beating heart of the Daunia. On the night of 5 June 2026, at the Umberto Giordano Theatre, that silence was finally broken. The GIO Festival was conceived in Foggia as an ambitious cultural project promoted by the Chamber of Commerce, the Municipality, and the Province, with the support of the Apulia Region, aiming to transform the artistic legacy of the verismo composer into a driver of territorial development and cultural tourism. Under the artistic direction of conductor Gianna Fratta and violinist Dino De Palma, the event at last fills a historical void. Its model is explicit and ambitious: a project inspired by the great festivals dedicated to Italian composers — such as the Verdi Festival, the Puccini Festival, the Rossini Opera Festival — while maintaining a strong territorial and participatory dimension. In other words, Foggia formally claims its seat at the table of the greats. And it does so with the credentials required: an unrepeatable world scenic première (parallel to the concert première at Milan’s Teatro Dal Verme, recorded by the prestigious opera label Decca Classics), a high‑quality operatic production, and the support of leading cultural institutions (Teatro dell’Opera di Milano, Fondazione Teatro Petruzzelli of Bari). The festival benefitted from the collaboration of the Orchestra of the Conservatoire and the Chorus of the Fondazione Teatro Petruzzelli of Bari, the Umberto Giordano Conservatoire of Foggia, the Fondazione Monti Uniti, and the Fondazione Apulia Felix. A network of excellence that lent the event national resonance and stature. The Umberto Giordano Theatre is a nineteenth‑century jewel of rare beauty — the oldest functioning horseshoe‑shaped historic theatre in Apulia. Yet for decades it lived in a state of semi‑clandestine cultural marginality, relegated to the periphery of the operatic routes that matter, hindered by long interruptions in its use from 2007 to 2014, including recent fire‑safety compliance requirements. Some referred to it, with a mixture of condescension and provincial resignation, as a “provincial theatre”, destined merely to bear Giordano’s name. That label is now destined to fall. It is precisely in Foggia that this youthful gem received its first scenic staging, placing the city on the international map of opera. A positioning without precedent in the city’s recent history. The Giordano Theatre recorded a full house for the historic première of Marina, welcoming hundreds of spectators, while many more followed the performance from outside via a large screen installed for the occasion. The production met expectations with full artistic dignity: the staging transposed the narrative to the First World War, heightening the opera’s dramatic and realist character. On the podium, the Symphony Orchestra of the Umberto Giordano Conservatoire conducted by Matteo Dal Maso. Sets and costumes by Alfredo Troisi; lighting by Massimo Russo. An ensemble of talents worthy of the name the theatre proudly bears. The definitive seal of this moment’s historical significance arrived from across the Atlantic. BroadwayWorld, the world’s most influential outlet for live performance criticism and reporting — with over 5.5 million monthly views — dedicated exclusive coverage to the event, publishing a complete photographic gallery of the world scenic première curated by Chloe Rabinowitz and a substantial critical review by Rachel Stone. The American article emphasised the historical value of the undertaking and the bond between the composer and his native city, highlighting the musical quality of the score, deemed surprisingly mature for the composer’s age. For the first time, the Umberto Giordano Theatre appeared on the New York‑based site alongside institutions such as the Los Angeles Opera House, Houston Opera, and BBC Classical Music at the Royal Opera House. It is its natural place. It should have been there decades ago. Until now, the world knew Giordano through his Milanese triumphs, not through the youthful opera written between Foggia and the Naples Conservatoire — the lost (and later rediscovered) Marina of 1888. Let us be clear: this is no minor detail. BroadwayWorld does not grant exclusive galleries to provincial theatres. It does so for events that shift the coordinates of musical and theatrical history within the circuits that matter. This time, those coordinates shifted to Foggia thanks to the GIO Festival, in the name of Umberto Giordano. For the record — and for those who may not yet know — the GIO Festival is a new and ambitious biennial event conceived by the Chamber of Commerce of Foggia, with the aim of celebrating the genius of Umberto Giordano and transforming it into a powerful engine of development for the entire Capitanata. Biennial means continuity, planning, vision. It means that Foggia does not intend to be a meteor in the operatic firmament, but a stable and recognisable presence within the international festival circuit. Andrea Chénier, Siberia, and Fedora had already carried Giordano’s name to the Metropolitan Opera House in New York for more than a century, where his works are still performed to great acclaim. Now Foggia itself — not merely its scattered operatic legacy — claims its rightful “place in the sun”. The composer whom his city struggled to recognise in life, and whose name it preserves on its theatre, its square, and its conservatoire, may finally become the lever of an unprecedented cultural, economic, and identity‑driven renaissance. The GIO Festival 2026 is not, one hopes, a point of arrival. It should be the first chapter of a new story for Foggia, for the Capitanata, and for the cultural South of Italy. The Umberto Giordano Theatre is no longer merely an architectural jewel to be preserved: it has now become a place of creation and inspiration, capable of attracting international press attention and hosting events that enter the annals of world opera. To those who still whisper that Foggia is a provincial city, the answer is now written upon the world’s stages: on the evening of 5 June 2026, the periphery became the centre.

The GIO Festival Captures the Attention of Broadway World: International Spotlight on the Staged World Premiere of Umberto Giordano’s Marina SOURCE: https://www.linkedin.com/pulse/gio-festival-captures-attention-broadway-world-staged-sardella-ph-d--pw1qe/ SOURCE: https://www.immediato.net/2026/08/20/il-gio-festival-conquista-broadway-world-riflettori-internazionali-sulla-prima-scenica-di-marina-di-umberto-giordano/ The prestigious American outlet has devoted an extensive feature to the production presented at the Teatro Giordano in Foggia. The opera, composed in 1888 and left without a true staging for almost 140 years, has returned to life within the festival directed by Gianna Fratta and Dino De Palma. The staged world premiere of Marina, a youthful work by Umberto Giordano, has brought Foggia onto the pages of the international press. Broadway World, a US publication specialising in the performing arts, has dedicated a substantial article to the production presented on 5 June at the Teatro Umberto Giordano as part of the GIO Festival. Luciano Magaldi Sardella, in a communication sent to several editorial offices, highlighted the international resonance of the event, noting that it has attracted attention even overseas. The title chosen by Broadway World is unequivocal: “Marina, Umberto Giordano’s Lost Opera, Makes World Stage Premiere in Foggia.” An opera left in the shadows for nearly 140 years Marina was composed in 1888 by Giordano, then barely in his twenties and still a student at the Naples Conservatoire. The opera was submitted to the second edition of the Sonzogno Competition in Milan, but did not win and remained essentially forgotten for decades, even as the composer from Foggia would later achieve acclaim with works such as Andrea Chénier and Fedora. According to the feature, the score received its first concert performance only at the beginning of 2026 at the Teatro Dal Verme in Milan. The Foggia production, however, marked the opera’s true staged debut, in the theatre that bears Giordano’s own name. The staged premiere at the Teatro Giordano The production was presented on 5 June during the GIO Festival. Artistic direction was entrusted to Gianna Fratta and Dino De Palma, while the staging was directed by Giandomenico Vaccari. As reported by Broadway World, the production relocated the narrative to the period of the First World War, emphasising the dramatic and realistic character of the opera. Valeria Sepe performed in the role of Marina, while the Orchestra Sinfonica of the Conservatorio Umberto Giordano in Foggia was conducted by Matteo Dal Maso. The cast also included Samuele Simoncini as Giorgio Lascari, Elia Fabbian and Cüneyt Ünsal, and the Chorus of the Fondazione Teatro Petruzzelli, prepared by Marco Medved. Broadway World celebrates Foggia The American publication underscores the historical significance of the initiative and the bond between the composer and his native city. The symbolic value is considerable: in the theatre named after Giordano, Foggia has hosted for the first time the complete staged version of an opera that had remained outside the repertoire for more than a century. The feature also highlights the musical quality of the score, described as surprisingly mature for the composer’s age and already capable of anticipating elements that would later characterise Giordano’s subsequent works. A festival spanning Foggia, the Gargano and the Monti Dauni The GIO Festival—Giordano International Opera Festival—was promoted by the Chamber of Commerce of Foggia in partnership with the Municipality and the Province, with support from the Region of Apulia and Puglia Culture. The initiative involved not only the provincial capital but also the Gargano and the Monti Dauni, with a programme ranging across opera, jazz, cinema, dance, chamber music and scientific outreach. The festival concluded on 20 June with Andrea Chénier in Piazza Cavour, in a production originating at La Scala in Milan and brought to Foggia for the occasion. Gianna Fratta conducted the Chorus and Orchestra of the Teatro Petruzzelli. Foggia’s image beyond Italy’s borders The prominence achieved by Marina also represents an important result for the region’s cultural profile. The festival’s narrative seeks to enhance Foggia’s cultural heritage through one of its most emblematic figures. The appearance of the production on the pages of Broadway World reinforces this international dimension, transforming the revival of a forgotten opera into an opportunity for cultural promotion for the entire Capitanata.

TU SAIS QUE L’INTER SORT UN GRAND MATCH QUAND LAUTARO 🇦🇷 VIENT S’ACCROCHER AUX TRIBUNES !!!! 🤩🖤💙 DE 0-2 À 3-2, L’INTER A REMONTÉ NAPLES !!! 🤯 Avec notamment un doublé de l’Argentin. 🎥 @DAZN_FR https://t.co/qC1vXbLzuB #Inter #Lautaro #SerieA

🚨🚨 L’INTER MILAN SORT LA REMONTADA ET REMONTE NAPLES 3-2 APRÈS AVOIR ÉTÉ MENÉ 0-2 !!!! 🖤💙 ⚽️⚽️ Doublé de Lautaro Martinez 🇦🇷 ⚽️ Marcus Thuram 🇫🇷 a fait une sacrée entrée avec un but 3/3 POUR LES INTERISTES ✅ https://t.co/57FSISlqRG #InterMilan #SerieA #Football