PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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There are two ways to represent the baroque opera: the philological one and the one revised in a modern key. The first (recitative – aria – recitative – aria etc.) is difficult to digest in our times. At the time of its composition, the opera theater was something else, a sort of global celebration, with long intervals, abundant libations, “entertainment” in the boxes, etc. In short, a sort of event in which there was also music.An acceptable philological representation requires an exceptional cast and direction, which happens very, very rarely.  The (very intelligent) approach of Fabio Ceresa is very different as he reverses the approach with the protagonists sitting on the stage to interpret the recitatives and gradually protagonists of skits in some way (but not too much) related to the performed arias. It is in this approach that the director’s imagination is unleashed (literally) in a sequence of different and delicious variations that span over time and space. And we have the puppets, a scene of domestic betrayal, harem scenes, a sadomasochistic picture, a memory of Barbarella etc, etc, 25 pictures of exceptional imagination (and also humour): which are well suited to the work which is a pastiche (as often happened in Vivaldi’s time) in which arias by different authors coexist while the recitatives are by the red priest. A more or less senseless plot  in which all the typical baroque stylistic features are found. The voices: not particularly successful that  of Renato Dolcini as Bajazet, in the norm of a good professionalism Raffaele Pe’s Andronico and Sonia Prima’s Tamerlano, while Loriana Castellano and Lucia Cirillo stand out respectively as Asteria and Irene. The baroque orchestra conducted by Frencesco Maria Sardelli was very good. A very warm and deserved success with the public with repeated calls to the stage of the cast and the other creators of the success.

PS I would kindly ask the readers of this blog to  register  (which implies nothing) which can be easily made  by “clicking” the black square above each post. By so doing they will receive an e-mail message whenever a new post is published.

PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!