Based in Vienna with offices in Berlin and Pisa, O-PR Communications is a dynamic PR agency which provides public relations and digital communication services to a select group of some of today’s most renowned opera artists, linking them to the press and media worldwide and raising their visibility on an international level.

Among our services are press and public relations, social media management, CD promotions, website creation and maintenance. Current PR clients include sopranos Ekaterina Bakanova, Erika Grimaldi, Irina Lungu, Gabriela Scherer and Sonya Yoncheva, baritones Etienne Dupuis and George Gagnidze as well as conductor Pietari Inkinen.

We are in touch with the leading newspapers, magazines, online magazines, radio and TV stations worldwide, securing press coverage for our clients in Europe, North and South America as well as Oceania.

Latest News

October 17, 2025

COSÌ FAN TUTTE | IRINA LUNGU | ROVIGO, TREVISO, PADOVA

Irina Lungu takes on the role of Fiordiligi in Così fan tutte in a production by Stefano Vizioli, conducted by Jordi Bernàcer, which will tour three cities in Veneto. After opening at the Teatro Sociale in Rovigo on October 17 and 19, the production will move to the Teatro Mario Del Monaco in Treviso on November 7 and 9, and conclude at the Teatro Verdi in Padova on November 16. She leads a distinguished cast that includes Francesca Di Sauro as Dorabella, Andrew Kim as Ferrando, Biagio Pizzuti as Guglielmo, Paola Gardina as Despina, and Maurizio Muraro as Don Alfonso. The Russian-born soprano returns to Fiordiligi after a twenty-year hiatus, having sung the role only once, in a single production very early in her career. Regarding the Da Ponte operas, she recently debuted another Mozart heroine, Countess in Le nozze di Figaro, in Liège, and will soon reprise one of her signature roles, Donna Anna in Don Giovanni, in Tokyo. More information about Irina Lungu: https://www.operabase.com/irina-lungu-a7420/de Instagram Irina Lungu About the Production Così fan tutte: A work that explores the nature of love and female fidelity. Two officers, Guglielmo and Ferrando, bet on the faithfulness of their fiancées, Dorabella and Fiordiligi, and decide to carry out a plan to test their true feelings, with the help of the maid Despina. Director Stefano Vizioli highlights the comedic aspect of Mozart’s masterpiece, while Milo Manara lends his renowned style to create movable decorative panels that frame the lovers’ partner-swapping story between Neapolitans and Ferrarans, envisioned by Mozart and Da Ponte. The aim is to evoke 18th-century frescoes found in Italian noble residences, with mythological scenes depicting Jupiter’s multiple loves, amorous chases, and playful interactions between satyrs and nymphs. Forty-five minutes before the curtain rises, an introductory talk on the opera will be held in the Teatro Ridotto as part of the “Beyond the Stage” series. Have a look at our news: https://o-pr.net/news/ https://o-pr.net/

October 17, 2025

WAGNER CONCERT | PIETARI INKINEN | HELSINKI

On October 17, 2025, Pietari Inkinen returns to his native Finland, appearing at Helsinki’s Music Centre for a concert entitled Greetings from Bayreuth, an evening dedicated entirely to Richard Wagner. The program focuses on the final two chapters of Der Ring des Nibelungen, Siegfried and Götterdämmerung, with the participation of renowned Wagner interpreters and Bayreuth veterans, soprano Catherine Foster and tenor Andreas Schager. The first Finnish conductor ever to lead Wagner’s complete Ring cycle at the Bayreuth Festival, Inkinen has made the composer a cornerstone of his artistic journey. His earlier Ring cycle in Melbourne was also met with widespread acclaim. More information about Pietari Inkinen: https://pietariinkinen.com/ https://www.drp-orchester.de/drp/orchester/chefdirigent104.html About the Conductor: At the age of four, Pietari Inkinen received his first musical lessons. As a teenager, the Finnish conductor, born in 1980, began studying the violin at the Sibelius Academy in Helsinki, where he also attended Jorma Panula's conducting class. Further studies took him to Zakhar Bron at the Cologne University of Music and back to Helsinki to Leif Segerstam. From 2008 to 2016, he was the chief conductor of the New Zealand Symphony Orchestra, and in 2014 and 2015, he spent five years each as chief conductor of the Ludwigsburg Festival and the Prague Symphony Orchestra. A special place in the conductor's career is held by the music of Richard Wagner: in 2014, he conducted Der Ring des Nibelungen for the first time at Opera Australia in Melbourne, and in 2021, he conducted Die Walküre at the Bayreuth Festival. There, he conducted the complete Tetralogy in 2023. Pietari Inkinen is in demand worldwide at opera houses from Helsinki to Brussels, Dresden, and Berlin, and has also worked with the NDR Elbphilharmonie Orchestra, the Los Angeles Philharmonic Orchestra, and the Orchestra dell’Accademia Nazionale di Santa Cecilia. Have a look at our news: https://o-pr.net/news/ https://o-pr.net/

October 10, 2025

FRANCESCA DA RIMINI | GEORGE GAGNIDZE | TORINO

George Gagnidze makes his debut at the Teatro Regio Torino as Gianciotto in Francesca da Rimini, in a new staging of Zandonai’s masterpiece that opens the 2025/26 season of the storied theater. Directed by Andrea Bernard and conducted by Andrea Battistoni, the production features a distinguished cast including Barno Ismatullaeva in the title role, Roberto Alagna alternating with Marcelo Puente as Paolo, Matteo Mezzaro as Malatestino, Valentina Boi as Samaritana, Devid Cecconi as Ostasio, and Silvia Beltrami as Smaragdi in the principal roles. The premiere is on October 10 with other performances on October 12, 19, and 21. This marks the Georgian baritone’s second portrayal of the fratricide and uxoricide Gianciotto, a role he first undertook at the Opéra Bastille in 2011. Later this season, Gagnidze returns to Italy in two of Verdi’s most iconic creations, Macbeth at the Opera Carlo Felice in Genoa and Nabucco at one of the country’s foremost summer festivals. More information about George Gagnidze: https://www.operabase.com/george-gagnidze-a6056/de https://georgegagnidze.com/ https://www.instagram.com/georgegagnidze/?hl=de About the Production: The episode of Paolo and Francesca in Canto V of the Inferno is one of those pages of Italian literature that continue, even today, to captivate generations of readers. It was this story that inspired Riccardo Zandonai to compose Francesca da Rimini, an opera that premiered at the Teatro Regio in 1914. The subject was adapted from Gabriele D’Annunzio’s tragedy of the same name, which provided both the dramatic framework and many of the verses that were incorporated into Tito Ricordi’s libretto. Zandonai set the story of the two lovers to music with an advanced harmonic language, where the boundaries between spoken and sung word become blurred—so deeply are poetry and music intertwined. The archaisms typical of D’Annunzio’s verse find their musical counterpart in Zandonai’s work through the inclusion, within his modern idiom, of refined “historical” inflections and instruments with an ancient flavor. Whether you approach it as a cultural artifact, out of love for D’Annunzio or for Dante—or simply because you are in love—it makes no difference: Francesca da Rimini is an opera waiting to be discovered. On the podium will be Andrea Battistoni, who, in his role as Music Director of the Regio, aims to revive lesser-performed works of the Italian repertoire. An international superstar such as tenor Roberto Alagna takes on the role of Paolo Malatesta, while the demanding and passionate role of Francesca will be sung by Uzbek soprano Barno Ismatullaeva. The creation of the new production is entrusted to the visual artistry of Andrea Bernard, director and architect. Have a look at our news: https://o-pr.net/news/ https://o-pr.net/

October 09, 2025

CONCERT | PIETARI INKINEN | COPENHAGEN

On October 9, 2025, Pietari Inkinen leads the Danish National Symphony Orchestra at the Koncertsalen in Copenhagen in a concert featuring Ottorino Respighi’s Fountains of Rome and Pines of Rome, the first two grandiose parts of the composer’s musical love letters to the Eternal City. The performance continues with Wolfgang Amadeus Mozart’s Piano Concerto No. 20 in D minor, the only concerto the Salzburg master wrote in a minor key, with pianist Yeol Eum Son as soloist. The Finnish maestro is no stranger to Respighi’s music, having conducted the Roman Trilogy or parts of it with the KBS Symphony Orchestra, the New Zealand Symphony Orchestra, the Orchestra del Teatro Comunale di Bologna, and at the Ravello Festival, all to wide acclaim, among others. [Photo: Kaupo Kikkas] More information about Pietari Inkinen: https://pietariinkinen.com/ https://www.drp-orchester.de/drp/orchester/chefdirigent104.html About the Conductor: At the age of four, Pietari Inkinen received his first musical lessons. As a teenager, the Finnish conductor, born in 1980, began studying the violin at the Sibelius Academy in Helsinki, where he also attended Jorma Panula's conducting class. Further studies took him to Zakhar Bron at the Cologne University of Music and back to Helsinki to Leif Segerstam. From 2008 to 2016, he was the chief conductor of the New Zealand Symphony Orchestra, and in 2014 and 2015, he spent five years each as chief conductor of the Ludwigsburg Festival and the Prague Symphony Orchestra. A special place in the conductor's career is held by the music of Richard Wagner: in 2014, he conducted Der Ring des Nibelungen for the first time at Opera Australia in Melbourne, and in 2021, he conducted Die Walküre at the Bayreuth Festival. There, he conducted the complete Tetralogy in 2023. Pietari Inkinen is in demand worldwide at opera houses from Helsinki to Brussels, Dresden, and Berlin, and has also worked with the NDR Elbphilharmonie Orchestra, the Los Angeles Philharmonic Orchestra, and the Orchestra dell’Accademia Nazionale di Santa Cecilia. Have a look at our news: https://o-pr.net/news/ https://o-pr.net/

October 04, 2025

DON GIOVANNI | EKATERINA BAKANOVA | SEVILLE

On October 4, Ekaterina Bakanova opens the 2025/26 season of the Teatro de la Maestranza in Seville, appearing as Donna Anna in a new production of Don Giovanni directed by Cecilia Ligorio and conducted by Iván López-Reynoso. She shares the stage with Alessio Arduini in the title role, David Menéndez as Leporello, Julie Boulianne as Donna Elvira, Marina Monzó as Zerlina, Marco Ciaponi as Don Ottavio, George Anguladze as the Commendatore, and Ricardo Seguel as Masetto. Further performances are scheduled for October 8 and 11. Celebrated for her compelling portrayals of Mozart heroines, the Russian-born soprano has already earned wide acclaim as Donna Anna on major international stages. In 2015, she was honored with the “Best Debuting Singer” award at the Arena di Verona for this very role. Looking ahead, she will debut as the Contessa in Le nozze di Figaro at the Teatro Verdi in Trieste this November. [Photo: Enrico De Luigi] More information about Ekaterina Bakanova: Operabase - Ekaterina Bakanova Instagram - Ekaterina Bakanova Website - Ekaterina Bakanova About the Production: Knowledgeable voices claim that Cherubino and Don Giovanni are the same person. The page who won the hearts of all the women in The Marriage of Figaro returned from the wars corrupted and disenchanted, transformed into the amoral and dissolute libertine who - according to his servant Leporello- listed more than 1000 conquests in his personal catalogue. Each one responded to his basic instinct beneath the sky of Sevilla. In Sevilla the adolescent discovered his irresistible predisposition, in Sevilla the ground to hell opened to punish the impertinence of the libertine. Between one opera and the other, the gentle light which illuminated The Marriage of Figaro has become the dead of night in Don Giovanni, the perfumed air of a patio in Sevilla is poisoned among gravestones and pantheons. If as a man, Don Juan is lamentable, as a myth he is irresistible. Mozart and Da Ponte were not the first, but they were decisive in the crystallization of the character. So much so, that any other view must be measured with the opera that Prague applauded in its 1787 premiere, and which the audience in Vienna in 1788 was unable to grasp in its version with a moral. The idea of Stage Director Cecilia Ligorio, which met with success at the Cologne Opera, focuses on the elusive identity of the character who can only be defeated by the powers of the beyond. And by the supreme dignity of the women who Don Juan ridicules in his descent to hell. Women who, although they appear in his catalogue, loved neither the conquistador nor the man. Have a look at our news: https://o-pr.net/news/ https://o-pr.net/

October 03, 2025

NABUCCO | ERIKA GRIMALDI | BONN

Erika Grimaldi adds a new Verdi role to her repertoire with Abigaille in a new production of Nabucco directed by Roland Schwab at Theater Bonn, where she also makes her house debut. The production will be conducted by Will Humburg, with twelve performances scheduled on October 3, 18, 19, 24, 31; November 2, 9, 14; December 11; February 21, 2026; March 6; and April 5. She will appear alongside a distinguished cast that includes Aluda Todua as Nabucco (with Amartuvshin Enkhbat, George Gagnidze, and Devid Cecconi taking over on later dates), Derrick Ballard and Pavel Kudinov alternating as Zaccaria, Ioan Hotea as Ismaele, and Charlotte Quadt as Fenena. The Piedmontese soprano has already earned acclaim in a wide range of Verdi roles, including Aida, Lady Macbeth, Leonora (Il trovatore and La forza del destino), Amelia (Un ballo in maschera and Simon Boccanegra), Desdemona, Alice Ford, Giovanna d’Arco, Medora, and Amalia (I masnadieri). Her upcoming Verdi engagements include Otello at the Ópera de Las Palmas, Il trovatore at the Teatro Carlo Felice in Genoa, and Un ballo in maschera at the Teatre Principal de Maó (Menorca). More information about Erika Grimaldi: https://www.operabase.com/erika-grimaldi-a5155/de Instagram Erika Grimaldi https://www.erikagrimaldi.com/ About the Production: After the victory of Nabucco, the King of Babylon, over the Hebrews, he takes them into captivity. His daughter Fenena, who is among the Hebrew prisoners, has turned her back on her father and chosen her beloved Ismaele, the nephew of the King of Jerusalem. Abigaille, Nabucco’s second daughter, by contrast, hungers for power. When she discovers that she is not Nabucco’s biological daughter, she resolves to remove her sister. When Nabucco ultimately proclaims himself a god and loses his sanity, Abigaille seizes her chance: through deceit, she tricks her father into sentencing all the Hebrews—and thus also his real daughter—to death. Out of fear for her life, Nabucco regains his senses and frees the Hebrew people. The story of Nabucco has its roots in the Bible. It was King Nebuchadnezzar II who, after defeating the Hebrews, lost his mind and was later restored by God. In 1842, Giuseppe Verdi achieved an overnight breakthrough with this subject. The Milanese audience—so it is said—was able to identify with the Hebrew people, as Milan was under Austrian rule at the time of the premiere. The choral number Va, pensiero from the opera’s third act—known today primarily as the “Chorus of the Hebrew Slaves”—was interpreted as a hymn to freedom. Verdi’s success was due, not least, to the political resonance of his opera. In his production, Roland Schwab (Oberst Chabert, Ernani) places the themes of captivity and power at the center. The prison serves not only as a setting but also as a metaphor: in the apparent game of power, violence itself becomes a philosophical prison from which no one can escape. Have a look at our news: https://o-pr.net/news/ https://o-pr.net/

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