Ospitiamo una recensione dalla penna di Elvira Diamantini
Quando ho saputo che Riccardo Muti veniva a Roma ho fatto di tutto per trovare i biglietti e portare mio nipote all’Opera. Il mio è stato un pensiero scaramantico: “anche se dovesse chiudere, almeno mio nipote avrà visto un’opera in Italia ”. Il ragazzo, non senza qualche incertezza sul vestito da indossare (gli proibisco categoricamente i jeans calati e le mutande in vista), accetta l’invito e sapendo delle quattro ore e mezzo di spettacolo che l’attendono sopporta gli sfottò degli amici in vista di giocarsi l’argomento con la tipetta del DAMS che lo emoziona tanto.
Moïse et Pharaon Rossini's opera is monolithic, monotheistic, monogenic, made in the shape of Egyptian pyramid, the children in conflict, fathers adversaries, in the terrible struggle. The story is known, the music a bit 'less, were it not for the great final chorus.
Muti reacts to the weight of the narrative, giving depth and levity to the whole work. Orbit the mysterious and powerful hands, raises the mystical Gulf orchestra and mass choir unites them suspended in the perfect spot for a while and all down to scapicollo including the audience, the boxes and the gallery, almost by magic to be found intact sentence at the end to walk up and down the rolling hills of Rossini that does not betray a lightness and speed even in the biblical narrative of the epic. An exceptional cast with a wonderful Sonia Ganassi in the shoes of Sinaïde, the authoritative and clear Ildar Abdrazakov in those Moïse and Juan Francisco Gatell unmistakable stamp It lièzer .
The solemnity of the subject is guaranteed by the substantial presence of the chorus, almost unrecognizable in the elegant performance given the capital (one intuits the merits of the Maestro Gabbiani), which now gives voice to the Egyptian people and now exchange with the Jewish tip of intention. A bis deserved the ovation that followed. A
praise for the versatile dancers of the Opera of Rome, through the interpretation of Shen Wei has made the story more topical and in particular Fang-Yi Sheu whose body exudes sweetness and courage, perhaps the only true feminine essence of the show.
Muti for as long as there is some for the singers on stage, in the orchestra pit, the dancers involved in choreography and even appearing in action
The Master does not direct, everything just starts to spin around.
But when my niece yells at me, jump on the chair in disbelief myself, being able to shut him up for a while with a low , until it holds another , then give up the defense and see that unfortunately there is also a direction in addition to a director.
The issue is the age-old problem of men: to be Moses or Pharaoh? The question is whether to conduct a people, a music, a show we should flex their muscles or get with your presence. The display of video technology, a mixture of "ten commandments" and "Star Wars", now used in a didactic sense, now makes ornamental work flat still, at times ridiculous - in this sense, the costumes do not help - a showcase of the muscles that a woman knows, makes people more vulnerable.
At the end of the show my nephew was not convinced of the God of the strongest, nor of its special effects that will speak to his beautiful, but nothing that lovely roll round of hands that grab and move around.
AND
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