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| Arts Calendar / July 12 / Opera |
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19:00 | Il Barbiere di Siviglia |
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Gioachino Antonio Rossini's three-act buffa opera staged by Alexander Titel and conducted by Wolf Gorelik. Libretto by Cesare Sterbini. The action of "The Barber of Seville" is set... no matter where and when indeed. In Beaumarchais' stage directions one reads "old Spanish costumes", Rossini moved the action to the 18th century which was not old but rather contemporary for the writer. One of the famous productions went as far as to show Beaumarchais and Rossini’s characters as Turkish or Arabs. Though Italy is very kindred to this story. It is an immense pleasure to watch this pointless but full of true human stories narrative evolving in an ambiance of jauntily dressed silent passers-by, neighbours chewing their pasta, a whole herd of rare motorbikes and worn-out furniture that would fit quite well into one’s parents’ apartment. The classical Spanish story is not set in sunny jolly festal Spain but in snow-covered Italy from "Euronews" and Italian neo-realistic films, and now and then Soviet history shines through lovingly, mildly with a slight nostalgia. Sung in Italian. Stanislavsky and Nemirovich-Danchenko Moscow Music Theater |
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Opera in two acts to music by Ruggero Leoncavallo. Libretto by Ruggero Leoncavallo. Music Director: Anton Grishanin. Stage Director: Hans-Joachim Frey. Sung in Italian. Presented without interval. It’s 1910 and a silence movie team is on the film set where they prepare their next production: they rehearse and shoot a film. It’s a work between production, preparing, comedy, tragedy, reality and film illusion. In the Prologue, the audience and members of the film production team are warned that the performance they are going to see is based on real events and devoid of pretense. A group of actors come to the production place: Canio, the head of company, his wife Nedda, Tonio, who also is the film director, and Peppe. They invite everyone on stage and in the auditorium to see their show. They start to shoot. The actors are asked out for a drink. Canio and Peppe accept the invitation. Left alone with Nedda, Tonio takes the chance to confess his feelings for her. Nedda scorns him and drives him away. They start to play between shooting the film, rehearsal, and reality: alone, Nedda is visited by Silvio, a member of the film team who has been in love with her and wants her to leave Canio for him... Boris Pokrovsky Chamber Stage |
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