————————————————————————————————————————————————————————

To interpret in a modern key a clearly eighteenth-century story (it would be enough to analyze Da Ponte’s text to verify this) is certainly not prohibited but requires the director to have a surplus of theatrical intelligence not verified in this edition. Among other things with a failed attempt to bring the story back to an unlikely twentieth-century period (1960s-70s). But what is the meaning of this attempt? To enhance the text? Sure, no. To try to demonstrate that even in those years “that’s what everyone did”? Trivial. In short, two dresses from the time are not enough to recreate the environment. Not to mention the male protagonists. What’s the point of decorating Don Alfonso as a sort of unlikely Indian holy man while his character is supposed to symbolize the disillusioned and philosophical awareness of human weakness? Not to mention the chorus represented by attendants dressed up like Turks (??): an absolutely meaningless choice since the story unfolds in Naples. As for Guglielmo and Ferrando, it’s not clear why they dress like two dudes on their way to camp.. And what about Fiordiligi who, when he decides to join Guglielmo at the camp, wears armor and a crest. In the 60s of the last century? In short, we are faced with a direction that at least can be defined as insipid and unrealistic. Mozart-Da Ponte’s work is perhaps the one that best lends itself to a sad examination of human events naturally cloaked in a satirical veneer. But the story should lead to a reflection and instead in this case it is reduced to a humorous fairy tale for the pleasure of an audience that enjoys Da Ponte’s masquerades more than music. And certainly the singing company is at the same level of the direction. After a disastrous start (shrill voices in the high notes) it improves over the course of the story until the final arias of the four protagonists which are performed not to badly. Totally insufficient Don Alfonso. An absolutely non-authoritative voice, devoid of vocal qualities and also of that irony (sometimes benevolent and sometimes even acid) of the character.  Dendeviel’s direction at least can be  saved.  He strives to obtain a decent prformance with the ability to make the most of the orchestra which has significantly improved over the years. Public success (who doesn’t like puppet theater?).

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)!!