Personalmente ho trovato solo discutibile, pur in un contesto di violenza e di omicidio, una troppo realistica rappresentazione degli atti sessuli che sono sempre, a mio giudizio, più incisivi se allusivi. Ma l’impianto registico è di grande livello soprattutto con gli interrogatori dei protagonisti in primo piano con la vicenda in una sorta di flashback giocato su più piani (quello più privato e quello “ufficiale”). Lady Macbeth non è un’opera facile da mettere in scena con una moltitudine di soggetti che sostengono piccole parti e poi scompaiono. Ma il meccanismo teatrale funziona perfettamente e riesce a trasmettere il dramma di una donna trascurata e vilipesa che trova nella passione una sorta di riscatto da un ambiente che la opprime anche se la porterà al dramma finale.

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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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La Scala continues to prove itself the opera house par excellence in Italy (without wishing to detract from the others, but it is a question of results). Staging this early work by Shostakovich (which was troubled due to Stalin) at La Scala’s opening night (the opera event par excellence in our country) demonstrates great openness and courage that is lacking elsewhere. I say courage because even a performance slightly below the level of absolute excellence could have sparked protests from musical sovereignists for whom only Verdi and Puccini are worthy of La Scala. Fortunately, the show was a great and well-deserved success from both a musical and theatrical point of view. Personally I found only one aspect questionable, albeit in a context of violence and murder: the overly realistic representation of sexual acts, which, in my opinion, are always more incisive when allusive. However, the staging is of the highest standard, especially with the questioning of the protagonists in the foreground and the story in a sort of flashback played out on several levels (the more private and the ‘official’ ones). Lady Macbeth is not an easy work to stage, with a multitude of characters who play small parts and then disappear. But the theatrical mechanism works perfectly and manages to convey the drama of a neglected and vilified woman who finds in a passion a sort of redemption from an environment that oppresses her, even if it will lead her to the final tragedy. Musically, the opera was a triumph, starting with Chailly’s conducting, which managed to extract all the pathos of the human drama. Chailly is like a vintage wine that improves with age. Sara Jakubiak was superlative, absolutely superlative in the title role, finding the right accent in every context, even when the musical line became verydifficult. She is the perfect soprano for the part, rendering all the sentimental accents of passion unleashed by a sort of ancillary love. Alexander Roslavets was almost on the same level in the role of the vulgar and sexist father-in-law, also endowed with perfect stage presence in his hateful role, while Yevgeny Akimov was a little less incisive in the role of the betrayed husband. However, his part is a small one that does not allow his singing skills to be fully appreciated. Najmiddin Mavlyanov’s performance as Sergei was also very good, although perhaps lacking the same dramatic temper as the protagonist (he is in a vest and shorts the whole time). All the other artists in the cast were also of a high standard. In the end, it was a triumphant success, disproving the notion that La Scala audiences (even if not all from Milan) are conservative and traditionalist. As always (although in certain theaters such as Bologna the lesson has not been learned), a high-level performance, even if in an unknown language and with a difficult music, achieves the success it deserves. It is the quality that counts, and it is not always necessary to win easy applause with ‘repertoire’ works: La Scala’s Lady Macbeth is the proof of this. 

Translated with DeepL.com (free version)

Translated with DeepL.com (free version)

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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)!!