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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A typical baroque opera both for the musical structure (almost constantly recitativo-aria-recitativo….) and for the libretto which does not lack the classic τοποσ with the final revelation of the noble origins of a second order painter who has on his side only a beauty that makes all women to fall in love with him. There are three aspirants to the beautiful young who in the end will be able to aspire (haughtily) to the throne of Queen Orontea only thanks to his origins. As in Shakespeare’s tragedies there are burlesque interludes, in this case with disguises, old women in heat, wise counselors etc. etc. Certainly not a great plot and it took Carsen’s mastery to make a play of good (not excellent) quality.  Here the Egyptian queen Orontea is a merchant of modern art  with her own atelier and the “revolving” scene shows the actual atelier or the studio of the Orontea used tendentially as an alcove.  The libretto exudes eroticism that Carsen strives to underline without hesitation both in the attitudes and also in the costumes (obviously modern) of the stage without ever descending into the vulgar. Certainly a non-problematic approach with the precise aim of entertaining the audience without too many psychological implications or settings difficult to interpret. Giovanni Antonini confirms himself as one of the most competent interpreters of the Baroque repertoire assisted by an orchestra in great shape. As for the performers, the palm certainly goes to Francesca Pia Vitale’s Silandra with a small step below Stéphanie d’Oustrac’s L’Orontea. Male voices do not excel and are of a decent professionalism. As well as the other singers in the cast. A good success with the public in which (as in all theaters now) there are evening outfits (even some black ties) and scruffy t-shirts. That’s probably right: but the contrast is striking. A bit like in Bayreuth: long ladies who bite bratwurste in a ramshackle manner. For conservative purists, it is a heartbreak.

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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)!!