leg strike the first , its now traditional guardians were promptly taken by the second (also broadcast on TV, but not the web, we are still the Paleolithic of this technology ... so patience), where it is wasted (especially, ma non solo, dopo Pagliacci ) fischi, buh e contestazioni nei riguardi di molti protagonisti (Direttore e Regista compresi). Tutti letteralmente dileggiati dal barcaccione Stinchelli ! Con il naturale contraltare di qualcuno che invece vi ha visto l'interpretazione del millennio (come la dantesca Carmen? mah…)
Quindi, matematicamente, dall'altrettanto scontato buona la seconda siamo shiftati al buona la terza ! Appunto la rappresentazione di ieri sera, accolta da applausi e ovazioni, che avrebbero sommerso (ammesso ci fossero stati) even the most acute and whistles buh incarogniti more. Thereby have the right (relatively few) Laudante of 18? Or, as often happens, the truth lies in some intermediate point , maybe not equidistant from the ends? I must say that personally I place myself without hesitation in the field of Enthusiasts (certainly not of the idolaters) of this diptych.
that now the first (de jure or de facto) of the scale have something fishy (or maybe just a nerd) it must be clear even to those responsible, although it is true that almost all 'last minute decided to reverse the traditional, and announced, sequence of items: never happened in living memory, which preceded Cavalleria Pagliacci (when given together, smile! ) The only serious reason for this can not reside in doubt from the outset must have haunted the leaders of the show, leading to the decision of putting at risk the most part than expected less likely, given the caliber of performers and their preparation. Thus, an approach like this: let's just vegetables, outside the tooth, so maybe then we close in recovery, and it is more or less what happened on 18.
Yesterday, incidentally, with the public normal (or ox- people, according to some?) the traditional order could be safely restored, judging reserved Pagliacci The acceptance of Care and Dyka . Although the first thought I have - if possible - even worse than listen radio 18! I, who am not fussy, but I have some reference, say, extreme: from a singing caryatid least discreetly and Lawrence Olivier stonacchia and screaming, I choose the maximum caryatid decision (which the musical theater - even if it were Wagner - without music, there is nothing for me ...) Even worse when shouting and is not even a stonacchia Olivier, ma un… pagliaccio (smile!) Cura ha in effetti gigioneggiato come fosse all'avanspettacolo (a proposito di verismo ) e pare aver riservato le (poche) risorse di benzina rimastegli ai LA della Giubba e ai SIb del Pagliaccio . Per il resto, una prestazione canora che richiederebbe moltissima… cura (smile!) Quanto alla Dyka, mi sentirei di darle una risicata sufficienza. In ogni caso, se è stato applaudito a scena aperta il Cura della Giubba, allora lo andava anche la Dyka, dopo la sua ballatella ornitologica! Voto più che discreto per Maestri e sufficiente, o sufficiente- per Albelo e Cassi . Sempre all'altezza il coro di Casoni .
Harding , essendo uno che viene da fuori , per di più dal profondo nord , ha il vantaggio di non farsi condizionare più di tanto dall' ambiente , e di fidarsi solo e ciecamente della partitura . Il che può magari procurargli l'appellativo non propriamente entusiasmante di battisolfa , rispetto a direttori che vedono - e applicano – anche segni e indicazioni agogiche scritti evidentemente con inchiostro simpatico, del tipo qui mettere calore mediterraneo oppure suonare con passionalità tutta nostra (smile!) Il simpatico Stinchelli trova addirittura che il giovine Harding dirige come un 97enne !
Cavalleria più che dignitosa, con un Licitra un filino falloso, ma diciamo alla Balotelli : non sarà sempre perfetto, però spesso e volentieri segna gol decisivi, e questo conta pur qualcosa! Una domanda: dov'era collocato a cantare la sua siciliana a sipario chiuso? La voce pareva arrivare dalla stazione MM di Cordusio! La D'Intino direi bene (data l'età, smile! ) una Santa height, screaming never, ever made and well identified with the difficult character. Sgura more than adequate and fair to the other two protagonists, and granny- Piunti Zilio. Here too a Harding dry, which seems to have slowed down - compared to 18 - The speed of 'Intermezzo (which will have kept 48 of the metronome instead of the prescribed 54 ... better than this Serafin, an authentic slug Mediterranean, less than 36) but in general, a reading more than welcome, from every point of view, including the right balance between instruments and voices (remember only too Sgura coverage - by the mighty chorus of Casoni, however, not the orchestra - in the closed air sortie). Earned the consensus from the public paid it (maybe now someone will ask for a petition for enrollment in a permanent position?)
The direction of the two shows was Mario Martone (in cahoots with for Sergio Tramonti scenes) that 18, interviewed on Radio 3 (and even a video on the site of the theater) had pointed out the characteristic features, and very different, the two outfits.
Pagliacci is set to the present day and shows us mercilessly as our civilization has regressed (daughter of Christian-Jewish culture) compared to 1870. Even in the pleasant Montalto di Calabria arrived modernity, represented by the futuristic A3, of which we see a characteristic ramp shooting. Below (and above) which are around ramp ladies performing a profession in the past (way later) carried out within the appropriate business structures . So we can be confident that we are after September 20, 1958 ... The cars (and trucks the company's sedan Silvio) points us towards the late '70s.
Intelligent use of acrobats, that animate the scene in the long moments in which it is occupied only by the choir. As for the characters, said the limited realism of Canio, it seemed too disgraced (the director) poor Silvio transformed into tamarro metropolitan, who arrives in BMW520 (first series) in place that will probably visit every night (for because of the ladies mentioned above) to meet Nedda. Which leaves us with doubts about its very nature, a woman married to a possessive and a nomad, and legitimate aspirations for freedom and a stable system, and sincerely in love with a young person ... or a slut potential (or actual) drawn to the assets, not being, Silvio? The paper fouled by Leoncavallo exclude entirely, I think, the second alternative. Martone not. In short, an interesting read, but with its beautiful distortion, as often happens to directors who feel compelled to invent something new.
Cavalry is made with hand cut all cerebral, introspective and socio-philosophizing, which now manifests itself: the brothels! The scenes were built long ago, then missed the plate " Villa San Martino - Arcore " to make the environment a tad bit closer to the subject. Here, while we know of us before 20 September 1958, and that's something. Then, show a casino in full swing on the morning of Easter is a genius in all the Sicilians will be eternally grateful to the director! But soon after we discover the true intention of Martone: Carved from the start the personality of Alfio . A guy who, in fact, Easter gets up and goes directly to the brothel, and has so little respect for the woman (wife or whore, does the same) that after (not first ) of the rash goes to the barber to physiological be nice! They are used to something or not, the directors, thank goodness?
not contemptible but the idea of \u200b\u200bthe scene initially empty, filled gradually from chairs on which the people take place, without leave. By constant witness to the existential dramas that take place around there. The Santa arrives with his chair under his arm and struggling to settle in the midst of the other chairs effectively makes the idea of \u200b\u200bexpulsion sinful woman from a society full of prejudice and bigotry. Unlike Nedda, Lola is - why the music so there Mascagni, the text of his librettists - a pretty girl light, so to speak, an owl rather vain, and presents it so well under the direction of Martone. This arbitrariness of dell'impersonificazione Alfio , bene invece anche l'esposizione di Turiddu e mamma Lucia .
In definitiva, una serata più che piacevole, grazie soprattutto a questa musica, in cui si sentono atmosfere sonore, se non proprio spunti tematici, che appariranno in quegli anni nelle sinfonie di Mahler, che fu interprete entusiasta sia di Mascagni che di Leoncavallo (a dispetto degli scontri avuti con quest'ultimo) e dalla cui musica dal taglio popolare fu sicuramente ispirato.
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