"Bridging the gap between the conservatory and the stage is becoming increasingly complex, and young performers often find themselves in a kind of limbo. The sector is therefore seeking new training strategies, such as Tuscany’s Mascarade Opera […] One of the elements that distinguishes Mascarade within the Italian landscape is precisely its independent structure. Unlike academies directly linked to major opera houses, the programme is conceived as a training platform that connects different levels of operatic practice: study, production, and entry into the professional circuit."
Read the full article by Tila Lara on Artribune.
