MACERATA OPERA FESTIVAL – The experiment of mixing cinema and opera met with the approval of the general public, which reciprocated with thunderous applause on the premiere. On the one hand the sweetness and refinement of Chaplin, on the opposite the testomony of the Commedia dell’Arte. Magnificent tenor Fabio Sartori
of Marco Ribachi
Profitable experiment. The Circus & Pagliacci conquer the general public of the Sferisterio taking house ample and honest applause, an actual standing ovation for the tenor Fabio Sartori. There was expectation and worry for the “second premiere” of the Macerata Opera Competition, proposed as a real inventive problem: understanding how you can mix on the identical stage two of probably the most celebrated and beloved visible arts of all time, cinema and melodrama. The stadium has thus returned to its former fondness for cinema, contemplating its previous as a movie screening venue. The work “Pagliacci” by Ruggero Leoncavallo, usually related to the Cavalleria Rusticana by Pietro Mascagni, was this time launched in a somewhat progressive and daring manner by the screening of a silent movie, The Circus, signed by Charlie Chaplin in 1928. A mixture that , at the very least at first look, would increase legit questions, however on the night time of the ring it has been in a position to develop with excessive coherence, even going past the bounds of 1 or one other expressive type, remodeling itself into a real inventive investigation.
In entrance of the eyes of the mayors of the province (learn the article) the Sferisterio is put in with a big film display connected to the wall and surrounded by luminous balls. On stage, however, virtually in all of the areas, a scenography strongly paying homage to that of the 2003 avant-garde movie Dogville by Lars Von Trier, the place the environments had been recognized by perimeters marked on the ground and by some distinctive furnishings. objects. The primary look, subsequently, leaves no room for doubt: the connection between dwell efficiency and recorded picture might be developed all through the night and can symbolize the magnifying glass with which to know the director’s selections.
To open the night time Charlie Chaplin whose hilarious exploits are accompanied by the orchestra within the interpretation of that unique rating saved and rediscovered by the baton of the night, maestro Timothy Brock. It’s subsequently an absolute world premiere whose impact is classy: it actually appears to return in time to the years through which sound took its first steps in a cinema of nice performing expressiveness. Having the ability to admire a soundtrack performed dwell by a complete orchestra, within the case of the Kind, will not be an expertise that occurs daily. The strokes, the bells, the variations, all the things seems very marked, revealing, because the inventive director Paolo Pinamonti needed, the sturdy continuity that exists between the digital camera and the musical accompaniment. The synchrony between picture and sound is formidable and, along with Charlot’s humorous gags, it constitutes an awfully profitable combine. On the finish of the projection, applause on the open stage.
After the film, nevertheless, it is time for the opera. Within the intermission, whereas the spectators proceed to focus on chatting and strolling across the enviornment, some extras start to enter the scene, populating the complete city-stage with a cinema within the heart of the sq.. We’re roughly in the identical years because the film we simply noticed, the temporal distances are already cancelled. If the inhabitants of the city are kidnapped by the pictures they see projected on the canvas (chosen by the director Alessandro Talevi himself), the identical can’t be mentioned of the present by the Pagliacci firm, which solely arouses yawns and distractions. The occasions of Colombina, Pagliaccio, Taddeo and Arlecchino are in truth against these projected by the cinema and the conflict appears unequal: whereas the society of comedians is destined to say no, the nice technological innovation of the time will eternally exchange Commedia dell’ Arte, leaving the actors in oblivion. Even visually, the distinction between the corporate and the spectators is drastic: on the one hand, the brilliant and garish colours of the actors, on the opposite, the grey plate that smells of the suburbs that characterizes the furnishings and the characters.
The defeat of the theater can also be manifested within the habits of the spectators who slowly depart whereas Nedda, Canio, Silvio and firm attempt to develop their private and scenic drama. Solely the ultimate anger and violence will as soon as once more entice the eye of the general public, who will return en masse to the stage for the time being of reckoning with blood. Right here Canio’s remaining phrases “Comedy is over” go utterly past the person dramas to place the ultimate level not solely in love however extra usually in the entire theater, defeated and swept away by the cinema. The ultimate bloodbath with which the present ends is emblematic on this sense: Canio, in line with the libretto, kills Nedda and Silvio with jealousy, whereas Tonio, in line with the free interpretation of the director, enters the scene armed with a pistol to kill everybody else. and take off life in excellent pulp type.
It’s the remaining testomony of the Comedy destined to be extinct within the subsequent many years. After the bloodbath, solely the applause stays. These paid to the complete forged, to the director, to the director, and particularly to Fabio Sartori within the function of Canio / Pagliaccio, writer of an thrilling and uncommon capability. As had occurred with Tosca cinephila by Valentina Carrasco (learn the article), it’s the cinema that acts as a counterweight to the work, as soon as once more its limits have been upset, the operatic composition has turn into a soundtrack highlighting a brand new and sudden aspect of that whole spectacle referred to as melodrama.
(photograph Sferisterio / Luna Simoncini)
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