"Dramaturgy of a passion" can be considered a true manifesto of the artistic direction of an opera house. Written at the end of his Parisian period, the author analyzes the position as an authentic intellectual commitment that, far from pure management, must have as its main mission to conceive the operatic season as a coherent whole. Therefore, the selection of titles is not governed by chance or by the simple taste of the public, but is the result of a complex process that must take into account factors such as voices, staging, historical context -cultural of the city and the country that hosts the representation, the author and, above all, the work itself. And all this on the basis that the operatic is a clearly urban and "obligatorily" political genre, which must not only produce an aesthetic enjoyment, but also move the spectator (who, therefore, does not have a passive but an active role), Remove your conscience, encourage reflection. In addition to including a chapter on the evolution of the architectural space of the opera house, its pages highlight its main (and controversial) ideas: away from the figure of the divo, much attention to the opera of the twentieth century and contemporary creation , little interest in belcantism and verismo, positioning in favor of "non-historicist" stage productions