A contentious power struggle is unfolding at Venice’s famed Teatro La Fenice, as the recent appointment of Beatrice Venezi as its musical director continues to spark fierce opposition from staff and unions. After four months of escalating tensions – including three strikes and public demonstrations – the celebrated pianist and conductor delivered a pointed critique of the situation today, characterizing the theatre’s governance as “anarchic” and questioning the influence of union control.The dispute centers on the manner of Venezi’s appointment, slated for October 2026, and its potential impact on the prestigious opera house’s reputation, as well as concerns over employee benefits.
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<span class="author-art is-small has-text-grey-darker author-xlk">By Vera Mantengoli</span> <p class="summary-art is-line-h-12">The director calls the situation “anarchic.” Musicians say it’s “offensive” and “not a game.”</p>
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<div class="content " id="m13418-13417-13419">Beatrice Venezi didn’t hold back, delivering a sharp critique of the situation at Teatro La Fenice. The controversy centers on potential damage to the theater’s reputation, union control, and a decision that remains contested. After four months of silence, the pianist and orchestra conductor addressed the Fenice case for the first time. “I could have commented on the damage to the theater’s image this situation has caused internationally,” Venezi said during a press conference on January 20, previewing her upcoming performance of *Carmen* at the Teatro Verdi in Pisa. “What’s missing from the narrative is what’s being said abroad – people are wondering how a theater and foundation funded by public funds can be in the hands of unions in what I’ll call an anarchic context.” These pointed remarks risk further escalating tensions between the theater’s staff – including the chorus, orchestra, and other personnel – and management, represented by Superintendent Nicola Colabianchi and Mayor Luigi Brugnaro, who also serves as president of the Teatro La Fenice Foundation. Also in Venezi’s corner are Culture Minister Alessandro Giuli, Commission President Federico Mollicone, and Undersecretary Gianmarco Mazzi.
The situation came to a head on September 22, when Colabianchi unexpectedly appointed Beatrice Venezi as musical director of La Fenice from October 2026 to March 2030. Until just days before, Colabianchi had stated that Venezi was a candidate, but that the matter needed further discussion and consultation with the theater’s staff. The appointment sparked immediate backlash. Unions protested both the manner of the appointment and Venezi’s qualifications for the role. In the ensuing four months, there have been three strikes and several demonstrations, including a recent protest where chorus and orchestra members wore pins shaped like violin keys at the New Year’s Concert. Venezi said she “would have made it more stylized, maybe with a Swarovski crystal,” seemingly dismissing the fact that the pins were created to silently protest her appointment and the suspension of employee benefits. “I’m so well-connected that I practically only work abroad,” Venezi continued. “Now I want to focus solely on this Maritime Republic. I’ll speak at the appropriate time. I’ll end with a quote from Vujadin Boškov: the game ends when the referee blows the whistle.” Reactions were swift. Today, January 20, the RSU (CGIL, CISL, UIL, FIALS, and USB) will meet to decide on a course of action, but Marco Trentin, a cellist and secretary of FIALS, has already stated: “The damage to the image hasn’t been created by the workers, but by those who caused this situation. I remind you that the unions represent the workers of La Fenice. Venezi should read the foreign press, which has offered very different opinions on this matter.” Concerns were also raised by non-union members. “To think that an entire theater is unionized and managed anarchically is absurd, ridiculous, and offensive,” said Eugenio Sacchetti, a violinist at the theater. “I’m not a member of any union, like many others, but we are all united by the same idea. Not to mention the sadness of comparing it to a soccer game. Being the musical director of Teatro La Fenice is not a game, and the theater is not a stadium.” Trentin also rejected the comparison, stating: “Boškov said, ‘a penalty is when the referee blows the whistle.’”
Following Venezi’s comments, Federico Mollicone (FdI) expressed his solidarity with her “for the serious smear campaign” and declared that “it has never existed in any foundation that the orchestra can impose a managerial choice.” He called for a clarifying meeting between all parties, a sentiment echoed by Superintendent Colabianchi and Mayor Brugnaro, at least in words. A meeting hasn’t been convened in over two months, but the back-and-forth continues, culminating in today’s statements. These remarks don’t bode well, and as the saying goes…
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<p class="is-last-update" datetime="2026-01-20T21:22:04+01:00">January 20, 2026</p>
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