Dopo avere occupato per 5 giorni consecutivi la scena al Regio di Parma , รจ transitata da Reggio Emilia – ieri e ieri l'altro - questa edizione del Naso di Shostakovich , opera ispirata al racconto un po' demenziale di Gogol .
is the revival of Russian production of 1974 (which was practically the revival of the Work in the USSR after the oblivion in which it was dropped). In the story of Gogol and assume you can search many different meanings, ranging from political and sociological than Freudian and sexual abuse. In short, there ought to be ample space not only for brainy, but perhaps also interesting inventions from Regietheater ... instead Boris Pokrovsky was held down to earth, but merely to present more or less faithfully, what we find written in booklet.
The which refers generically to the original story , also introduce a small or large variations, such as the prologue to the initial smoothing Kovalev, the restoration of the Cathedral scene Kazansky (at instead of department stores, which Gogol was practically forced to withdraw for reasons of censorship) and especially the new and long scene (the seventh, before the third act) captures the lively nose - episode in the story of Gogol is (literally ) shrouded in fog and nothing is described in detail - for which they were used for footage of other works of the writer. Finally, in closed, just before the last externalization of Kovalev, Pokrovsky part of its initiative a series of jokes recited by different actors and borrowed almost verbatim from the last paragraph of the story of Gogol, where the writer presents a surreal sort of justification of surreal events just narrated.
The stage is bare and the curtain is always open: the ends of the costumes of various characters, hanging from hooks on the bottom of a platform with railings serve as a curtain. Primitive objects (boxes, tables, chairs, mattresses) are lifted and removed from time to time to support the action, and exploiting the time the various interludes (presumably originally planned to coincide with its scene changes) to percussion, including the promenade and the awakening of Iakovlevich Kovalev, the galop describing the release of Kovalev on Nevsky Prospekt, the scene between the newspaper and the scene at the home of Kovalev (where Ivan plays the balalaika ). In some cases, it also exploits the audience - which emerge from the sides of some characters that go up on stage - and a stage from which a police officer responds to requests for Kovalev. Theatre also the entrance to the third act of Maestro Vladimir Agronskij after the interval: comes from the bottom of the pit, along the entire central corridor and down the podium greeted by two officers of tsarist, which closes his door behind him.
Entertainment flowing really without a breather. Ben made the quartet of letters (Kovalev-Jariskin / Podtotchina-daughter) through the clever use of lights. In short, a pleasant and traditional production, which deserves congratulations for the whole company, the Moscow Chamber Music Theatre , founded by his Boris Pokrovsky (who died at 97 in 2009).
Also on a musical level, a positive note: the small orchestra, made in solo practice (within the doubling of instruments, and only in the strings) and interpreters (the company has submitted, and in Parma in Reggio, two different cast , alternating each week). Shostakovich requires mainly a song estranged, as are basically all the characters of the story that seem to always play the grotesque parody of themselves.
The public (it had no employment was 60% of the seats of the theater, alas) has been shown to accept, rewarding the company of warm applause.
What is certain is that, face works like this, you will be hard to create factions and supporters of music lovers, as with any Tosca ( smile! )
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