Circus and Pagliacci shout “Vittoria!” The Sferisterio cinema enchants the viewers

MACERATA OPERA FESTIVAL – The experiment of mixing movie and opera met with approval from the viewers, which was met with thunderous applause on the premiere. On the one hand the sweetness and class of Chaplin, however the testimony of the Commedia dell’Arte. The tenor Fabio Sartori is nice


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An summary of the Sferisterio final evening

out Marco Ribachi

Profitable try. The Circus & Pagliacci conquer the viewers of the Sferisterio and produce residence copious and honest applause, an actual ovation for the tenor Fabio Sartori. Proposed as an actual creative problem, the “second premiere” of the Macerata Opera Pageant was expectant and anxious: to know easy methods to mix on the identical stage two of essentially the most well-known and beloved visible arts of all time, cinema and melodrama. With this, the sector returns to its previous love of cinema and displays on its previous as a location for movie screenings. Ruggero Leoncavallo’s Pagliacci, often related to Pietro Mascagni’s Cavalleria Rusticana, was this time launched in a moderately progressive and daring approach by way of the screening of a silent movie, The Circus, signed by Charlie Chaplin in 1928. A mixture that, at the very least at first look, it might increase official questions, however which, on the evening of the sector, had been capable of develop with the utmost coherence, even going past the boundaries of 1 type of expression and one other, turning into an actual creative investigation.

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The mayors of the province of Macerata yesterday on the enviornment

In entrance of the eyes of the provincial mayors (learn the article), the Sferisterio is ready up with a big cinema display mounted to the wall and surrounded by luminous spheres. On the stage, however, virtually in each room, a scenography strongly harking back to the 2003 avant-garde movie Dogville by Lars von Trier, by which the environments had been characterised by outlines marked on the ground and by some attribute furnishings parts. The primary look, due to this fact, leaves little doubt: the connection between the stay efficiency and the recorded picture will evolve all through the night, offering the magnifying glass by way of which to know the director’s selections.

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The night opens with Charlie Chaplin, whose hilarious feats are accompanied by the orchestra in a efficiency of the unique rating, rescued and rediscovered by the night’s pacemaker, Maestro Timothy Brock. It’s due to this fact an absolute world premiere, the impact of which is classy: it appears, in actual fact, to have been thrown again to the years when sound made its first steps in a cinema of nice theatrical expression. With the ability to take pleasure in a soundtrack performed stay by a full orchestra is just not an on a regular basis expertise within the case of Kind. The beats, the bells, the variations all seem extraordinarily placing and reveal, as creative director Paolo Pinamonti wished, the sturdy continuity that exists between the digicam and the musical accompaniment. The synchronicity between picture and sound is spectacular and, along with Charlot’s amusing gags, shaped a combination of extraordinary success. On the finish of the efficiency applause on the open stage.

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After the movie, nonetheless, it is time for the opera. Whereas the spectators are nonetheless chatting and strolling by way of the sector throughout the break, extras enter the surroundings that populates all the stage metropolis with a cinema in the course of the sq.. We’re roughly in the identical yr because the movie you’ve got simply seen, the time gaps have already been crossed out. If the villagers are captivated by the photographs they see projected on the display (chosen by director Alessandro Talevi himself), the identical can’t be mentioned of the present, staged by Pagliacci’s firm, which solely elicits yawns and distractions . The occasions of Colombina, Pagliaccio, Taddeo and Arlecchino are in actual fact against these projected by the cinema and the battle appears unequal: whereas the society of comedians is doomed to say no, the good technological innovation of the time turns into perpetually substitute the Commedia dell’. Arte and lets the actors fall into oblivion. Visually, the distinction between the corporate and the viewers is drastic: on the one hand, the garish and brilliant colours of the actors, on the opposite, the grey plate that smells of the suburbs and characterizes the inside and characters.

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The defeat of the theater can also be mirrored within the conduct of the spectators, who slowly go away whereas Nedda, Canio, Silvio and Co. try to develop their private and scenic drama. Solely the ultimate anger and violence will draw the eye of the general public, who will return en masse in the mean time of the bloody reckoning. Right here the closing phrases of Canio’s Die Komödie ist aus go utterly past the person dramas to convey the ultimate level not solely to like affairs however extra typically to the entire of theater which is being conquered and swept away by cinema. The ultimate bloodbath that ends the present is emblematic on this sense: in accordance with the libretto, Canio kills Nedda and Silvio out of jealousy, whereas Tonio, primarily based on the director’s free interpretation, enters the scene armed with a gun to kill everybody else and take off. Dwelling in good pulp fashion.

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It’s the final testomony of comedy, which can die out within the many years to return. After the bloodbath, solely applause stays. These have been paid to all the solid, to the director, to the director and specifically to Fabio Sartori within the function of Canio / Pagliaccio, writer of an thrilling and uncommon potential. As with Valentina Carrasco’s Tosca cinephila (learn the article), it’s the cinema that acts as a counterbalance to the work, as soon as once more its limits have been exceeded, the operatic composition has grow to be a soundtrack that highlights a brand new and sudden side of this complete spectacle referred to as melodrama.

(Picture Sferisterio / Luna Simoncini)

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Timothy Brock

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