{"id":66761,"date":"2013-01-03T20:26:11","date_gmt":"2013-01-03T18:26:11","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66761"},"modified":"2014-01-10T20:26:39","modified_gmt":"2014-01-10T18:26:39","slug":"veronamacbeth-alternative-cast","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/veronamacbeth-alternative-cast\/","title":{"rendered":"Verona:”Macbeth” (alternative cast)"},"content":{"rendered":"

Vona, Teatro Filarmonico, Stagione lirica 2012 \/2013<\/em>
\n\u201cMACBETH\u201d\u00a0<\/strong>
\nMelodramma in quattro parti di Francesco Maria Piave dall\u2019omonimo dramma di William Shakespeare. Edizione Edwin F. Kalmus&Co., Inc.
\nMusica di\u00a0Giuseppe Verdi<\/strong>\"\"\"\"\"\"\"\"
\nMacbeth\u00a0<\/em>MARCO VRATOGNA
\nBanco\u00a0<\/em>ROBERTO TAGLIAVINI
\nLady Macbeth<\/em>\u00a0<\/em>TIZIANA CARUSO
\nDama di Lady Macbeth\u00a0\u00a0<\/em>FRANCESCA MICARELLI
\nMacduff<\/em>\u00a0 ALEJANDRO ROY
\nMalcolm<\/em>\u00a0 GIORGIO MISSERI
\nMedico\/ Araldo\u00a0<\/em>DARIO GIORGELE’
\nDomestico di Macbeth\/ Un sicario\u00a0<\/em>SEUNG PIL CHOI
\nTre apparizioni\u00a0<\/em>SEUNG PIL CHOI, ALBERTO TESTA, VITTORIA SANCASSANI
\nOrchestra, Coro e Corpo di Ballo dell’Arena di Verona
\nDirettore\u00a0Omer Meir Wellber\u00a0<\/strong>
\nMaestro del coro\u00a0Aldo Tasso\u00a0<\/strong>
\nCoordinamento regia, scene\u00a0 e costumi\u00a0Stefano Trespidi\u00a0<\/strong>
\nRegia video\u00a0Amerigo Daveri
\n<\/strong>Coreografia\u00a0Maria Grazia Garofali<\/strong>\u00a0<\/strong>
\nLuci\u00a0Paolo Mazzon\u00a0<\/strong>
\nNuovo allestimento
\nVerona, 21 dicembre 2012
\n<\/em>
\nAnyone who thinks that the Maya Prophecy didn\u2019t eventuate, wasn\u2019t in Verona on 21st<\/sup>\u00a0December<\/strong>\u00a0at the \u00a0fourth performance of Verdi\u2019s Macbeth by the Fondazione Arena at the Teatro Filarmonico.
\nDown-sized from the announced Liliana Cavani and Dante Ferretti production, the opening opera of the centenary season, entrusted to the head of production of the Fondazione Arena,\u00a0Stefano Trespidi,<\/strong>\u00a0looks as if it is mounted on a shoe-string budget and is conceived as a rehearsal; work in progress, a play within a play. The confusion of technical staff\u00a0 and chorus milling around the platform which is meant to represent a stage, and the comings and goings of the soloists on and off the platform, in and out of the roles, where the murdered, resuscitate and are given a glass of water, where the chorus master, the choreographer, the director and the costumist\u00a0 participate as themselves, makes it difficult for the viewer to suspend reality and be carried away into the world of the supernatural and Verdian drama.\u00a0 \u00a0\u00a0Director, assistants, and stage-hands wander around the stage, consulting notes, making adjustments, instructing the performers \u00a0thereby detracting attention and tension from the drama. When, at the beginning of the third act, the curtain didn\u2019t rise and the orchestra was left to play on alone until it ground to a halt, and the director announced flatly that there was a technical hitch, the audience couldn\u2019t be blamed for thinking that they really were attending a rehearsal!
\nWith the exception of three floor-length, low-cut dressses for Lady Macbeth, one black, one white and one red, reflecting her state of mind in each particular situation, the rest of the company is dressed informally in black.\u00a0 A mixture of old film clips of Macbeth by important directors, Welles, Polanski, Kurosawa, juxtaposed with live filming of the protagonists in close up, both on and off stage, by an on-stage cameraman,\u00a0 are projected onto a large screen. \u00a0This technique worked best in the close ups of the soliloquies, focusing attention on the expressivity of the soloist or as remembrances of past things , but too often the result was affectedness.\u00a0The staging appears as an allegory of the theatre\u2019s condition: the residue of what has survived the gradual decline of this theatre: musically and artistically impoverished. \u00a0\u00a0There are very few traces of Verdi\u2019s Macbeth. The remarkable musical study of the complete development of\u00a0 the dramatic and psychological growth of the character of Lady Macbeth and the workings of remorse on Macbeth\u2019s conscience to their final disintergration, through the unnerving sequence of events in the intermediate scenes are foiled and lost.\u00a0 The dramatic tension is dissipated. The thrust is slackened by the meaningless meandering of characters in and out of their roles.
\nThe vocally unruly women\u2019s chorus shrill, flat in the top notes taken from underneath, \u00a0rather than reflecting\u00a0 the characterization of witches, seemed\u00a0 simply to be giving full vent to uncontrolled singing. Unconvinced and unconvincing they wandered aimlessly around the platform-stage, or sat and reclined around it, watching distractedly, uninvolved in the action taking place there. \u00a0The dancers, with twenty minutes of ballet music and a full stage at their disposal, were confined to marking time and writhing in a centre-stage cage. Embarrassingly boring. \u00a0At last, at the beginning of the fourth and last act, in the famous and well sung chorus \u2018Patria oppressa\u2019, the production, with the full height of the\u00a0 stage hung with looped ropes, seemed to have found an effective and confident vision. This was a momentary lapse, although the last act, including an effective sleep-walking scene, was musically the tightest.
\nWelber\u2019s modest reading was competent but undistinguished.<\/strong>\u00a0His first lost occasion in the elegaic, cantabile of the preludio, which anticipates the introduction to the sleep-walking scene, \u00a0was completely lacking in\u00a0 pathos. \u00a0Disappointing too, were the desultory accents in the chorus \u2018Patria oppressa\u2019, \u00a0lacking the lean and weight of the \u2018appoggio\u2019 which endow them with their wailing effect. The reiterated harmonic suspension-resolution scheme was not exploited to create appropriate musical and dramatic tension. Notwithstanding the bland \u00a0conducting the orchestra demonstrated clean and solid playing and great sensitivity in accompanying the vocal line. As the opera progressed this care and attention became more evident. In fact, on the whole, \u00a0the orchestra was well-balanced in timbre and dynamics both internally and in relation to the stage, and provided the production with one of the few elements of undisputed professionalism and artistic dignity.
\nThe second cast put to a severe test in very exacting roles, aquitted themselves admirably.\u00a0Marco Vratogna<\/strong>\u2019s \u00a0round burnished timbre, homogenous and even\u00a0 from top to bottom, with an effortless emission was a congenial vehicle to express Macbeth\u2019s\u00a0 introspection and torment. A greater dynamic contrast and a more emphatic delivery at climatic moments would have provided a stronger dramatic impact.\u00a0\u00a0Tiziana Caruso<\/strong>\u2019s Lady Macbeth was dramatically convincing and in the vocally demanding and impervious role managed commendably. \u00a0Particularly effective in the spoken word, the voice in the upper registers was not always focused\u00a0 making comprehension of the text arduous. \u00a0The surtitles were a very useful aid generally. The sleep- walking scene, performed in the centre aisle of the stalls was handled convincingly both vocally and dramatically, taking advantage of\u00a0 the great freedom of movement and expressiveness provided by Verdi. The final \u2018fil di voce\u2019 high D flat at the end, floated in to great effect from the foyer.\u00a0\u00a0Francesca Micarelli<\/strong>, as the Lady-in-Waiting, was a luxury as a comprimario. Her strong, round voice was firm and even and endowered her scene with presence and expressivity. \u00a0A worthy performance by\u00a0Roberto Tagliavini<\/strong>\u00a0of Banquo, was evidenced in one of Verdi\u2019s finest bass arias \u2018Come dal ciel precipita\u2019 and\u00a0Alejandro Roy<\/strong>\u2019s rendered a forceful \u00a0Macduff in the \u00a0beautiful aria \u2018Ah, la paterna mano\u2019. \u00a0The cast was completed with\u00a0Giorgio Misseri<\/strong>\u00a0as Malcolm,\u00a0Dario Giorgel\u00e8<\/strong>\u00a0as doctor and herald,\u00a0Seung Pil Choi<\/strong>\u00a0as Macbeth\u2019s servant and the murderer, \u00a0and\u00a0Alberto Testa, Vittoria Sancassani<\/strong>\u00a0and\u00a0Seung Pil Choi<\/strong>\u00a0as the apparitions. At the end of the evening, the hundred odd spectators \u00a0apparently made up mainly of friends, family and\u00a0 followers applauded enthusiastically amidst the flyers floating down in pure risorgimento style from the balcony.\u00a0Photo Ennevi
\n<\/em><\/p>\n

\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Vona, Teatro Filarmonico, Stagione lirica 2012 \/2013 \u201cMACBETH\u201d\u00a0 Melodramma in quattro parti di Francesco Maria Piave dall\u2019omonimo dramma […]<\/p>\n","protected":false},"author":105,"featured_media":45940,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[6328,9354,153,30,337,3158,145,4308,946,4810],"class_list":["post-66761","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-alejandro-roy","tag-foreign-readers","tag-giuseppe-verdi","tag-macbeth","tag-marco-vratogna","tag-omer-meir-wellber","tag-opera-lirica","tag-roberto-tagliavini","tag-stefano-trespidi","tag-tiziana-caruso"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66761","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=66761"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66761\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/45940"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=66761"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=66761"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=66761"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}