Beatrice Venezi turns the page after the Fenice, now she will direct in Russia and Georgia.

Beatrice Venezi has moved on from Venice after her contentious tenure at Teatro La Fenice, announcing plans to take on new international roles in Russia and Georgia. The conductor, who recently faced a legal battle with the Venetian theater foundation over her removal, expressed a desire to focus on future projects rather than dwell on past conflicts. Speaking to Adnkronos, Venezi described the period surrounding her departure from La Fenice as “complex and painful,” but emphasized her intent to look ahead and concentrate on upcoming engagements abroad. The Italian conductor’s next major project will see her return to Russia, where she will lead a performance of Giuseppe Verdi’s La Traviata in Novosibirsk. She described the city as a “new cultural capital” of the country and expressed excitement about returning to Russian audiences. In addition to this engagement, Venezi confirmed her continued involvement with Georgia, where she will participate in multiple concerts during August and September. She highlighted the significance of these opportunities, stating they represent key components of her professional journey and have provided substantial support throughout her career. Reflecting on her time in Venice, Venezi acknowledged the challenges she faced following assurances from local institutions, including the mayor, the superintendent, and the minister of culture. These figures had encouraged her to continue despite internal opposition within the orchestra and chorus, which led to strikes and protests. While she admitted that mistakes were made by all parties involved, she suggested she might approach such situations differently if given another chance. However, she noted that the legal dispute with La Fenice remains unresolved, as she continues to challenge the foundation’s decision to terminate their collaboration. Venezi expressed confidence in the judicial process, believing it could ultimately deliver justice based on truth. The conflict with La Fenice began on September 22, 2025, when Nicola Colabianchi, the theater’s superintendent, announced Venezi’s appointment as musical director. This decision sparked internal dissent, leading to unrest among the orchestra and choir members, along with public demonstrations and strikes. Matters worsened when Venezi gave an interview to Argentina’s La Nación, in which she discussed the practice of passing down orchestra positions through family lines, further fueling controversy. On April 26, the foundation officially terminated its relationship with Venezi, a move she later challenged in court. Venezi’s transition away from Venice has been marked by both personal reflection and professional ambition. Her comments suggest a determination to move forward from the legal and emotional toll of the situation, focusing instead on the creative and collaborative aspects of her work. Her upcoming projects in Russia and Georgia underscore her commitment to expanding her influence beyond Italy, engaging with diverse cultural landscapes and audiences. Her remarks about wanting to “forget Venice” reflect a broader sentiment of seeking renewal and growth. While acknowledging the pain and complexity of her experience in Venice, Venezi appears resolved to build upon the lessons learned and pursue new opportunities. This shift aligns with her ongoing efforts to establish herself internationally, leveraging her expertise and reputation in classical music. As she prepares for performances in Novosibirsk and Georgia, Venezi’s focus remains firmly on the future. Her legal battle with La Fenice continues, but she has not let that define her current trajectory. Instead, she is turning her attention to the stages and orchestras that await her in other parts of the world, determined to forge a path forward rooted in artistic expression and professional fulfillment.