of Giovanni Chiaramonte . Una furtiva lagrima / appeared in her eyes: / Those bright young / seemed to envy ... Who does not know the Elisir d'amore by Gaetano Donizetti? Generations of Italians have grown on bread, pasta and furtive tears. In the nineteenth century a new representation of work that could awaken hope in these times, we can be for a derby ... but unfortunately these passions have been the bread and Italian pasta: the opera is now so familiar and not the most famous arias, but the passion of an entire population has vanished.
On this issue we begin our interview with Roger Hood , the director of L'Elisir d'amore performed at the Teatro dell'Opera di Roma until 18 February. writer, theater director, playwright, producer , Roger Hood belongs to that select club of southern cultured in which clarity of view, passion for literature and creative blood were completely mixed, perhaps due to the southern sun, the good studies, sea \u200b\u200bwhich have nourished the eyes and, last but not least , at that 'otium all southern ignorance of a certain north translates lazy ...
There is a lack of ability to promote the renewal of Italian opera in the world. The Italians are a people very fond of the rituals of comfort, people tend to have a crib in the mentality. What does this mean? That the crib is growing every year and that the position of the Infant Jesus is the center between the Virgin and St. Joseph, which starts in the ass and the ox in the place that other ..
So we are a nation of children protected by maternal habits ...
Absolutely. Italians as a people derive much comfort from the supposed invariability. The more things do not change the more they are comforted. An example: in Naples almost every year stages "Poverty and Nobility." The show we know, the film Toto is extraordinary, Neapolitans know by heart all the lines of "Poverty and Nobility", but yet every year we go. It 's like if I had the feeling that the Neapolitans decide to laugh before you even enter the theater laugh out of sync, almost laughing before the joke has been delivered, and this happens with the audience of opera.
Absolutely. Italians as a people derive much comfort from the supposed invariability. The more things do not change the more they are comforted. An example: in Naples almost every year stages "Poverty and Nobility." The show we know, the film Toto is extraordinary, Neapolitans know by heart all the lines of "Poverty and Nobility", but yet every year we go. It 's like if I had the feeling that the Neapolitans decide to laugh before you even enter the theater laugh out of sync, almost laughing before the joke has been delivered, and this happens with the audience of opera.
short, is like the mother's sauce, which just makes it that way, regardless of who is good and should be eaten on Sundays ...
Exactly. So let's say when you go to see "L'Elisir d'amore" the public tends, in 99% of cases, pay the ticket to arrive at a crucial moment, which is The furtiva lagrima. The Arriva furtiva lagrima and expects that this sauce is just the sauce, as she said, which is baked every Sunday and you have an idea that now is part of its taste and regards cooking pasta, the density of the sauce : If there is a minimum time lag compared to the taste and expectations consolidated consolidated the public about the affair and there is overflowing. The other aspect is that we have not had the ruling classes can, in this country, to promote cultural renewal rather, say, a cultural growth, because then any renewal is based on tradition, this is obvious. But what does it mean to renewal? It means as in '33, as in this opera was made, there were a lot of classic operas, which then were not so classic, because in '33 Verdi was much closer to us, but then there are the titles Verdi would find that even today, only eighty years have passed, there were three more news on that bill: there was, for example, Respighi, who was a contemporary at that time, so there is little capacity to promote renewal, there is little capacity to promote the new guidelines of the scene, both as regards the direction both as regards the young composers.
Exactly. So let's say when you go to see "L'Elisir d'amore" the public tends, in 99% of cases, pay the ticket to arrive at a crucial moment, which is The furtiva lagrima. The Arriva furtiva lagrima and expects that this sauce is just the sauce, as she said, which is baked every Sunday and you have an idea that now is part of its taste and regards cooking pasta, the density of the sauce : If there is a minimum time lag compared to the taste and expectations consolidated consolidated the public about the affair and there is overflowing. The other aspect is that we have not had the ruling classes can, in this country, to promote cultural renewal rather, say, a cultural growth, because then any renewal is based on tradition, this is obvious. But what does it mean to renewal? It means as in '33, as in this opera was made, there were a lot of classic operas, which then were not so classic, because in '33 Verdi was much closer to us, but then there are the titles Verdi would find that even today, only eighty years have passed, there were three more news on that bill: there was, for example, Respighi, who was a contemporary at that time, so there is little capacity to promote renewal, there is little capacity to promote the new guidelines of the scene, both as regards the direction both as regards the young composers.
Very little short on young composers and artistic directors to give them space? Very little artistic directors. Let's assume for a moment that there are no compositional talent - may be - but we can not say that in a city does not have football talent, if there is a field where play them! The history of many composers teaches us that without the exercise of the scene the composer is not growing. When Fellini made his first film, The White Sheik , critics said, the only thing that we believe are constructive and lucky is knowing that this man will never do more than a movie. Then Fellini made them other films, has made masterpieces planetary. Then, if there is a place to exercise where a composer - which of course has the talent - can test their skills, these things will not ever find out. It 's a very self-referential world, not open to the news, it seems that - a bit' all over Italy, not only in opera but also in literature, theater - the task of those who manutengono paintings and art was more to lower the level of art to the public that does not raise the level of public art.
With regard to 'Elisir of love, there is a particular vision of the work that has gudata as a director? There is a temptation that often runs an opera director, a danger to be enslaved by the idea of \u200b\u200bsurprising the audience. I'm not fascinated by the idea of \u200b\u200bsurprise. There is another danger: that always show a new angle on things. Now, sometimes it is impossible to show a new angle and very dangerous, unless you do not have a great need and a very clear idea of \u200b\u200bwhat this new angle. One of the problems on which we reason is that many times recently the director when staging an opera, is an argument about the plot, the characters and the plot: what happens in 'L'Elisir d'Amore ? There is a small country town, there are reapers who return from work, there is a capricious girl, there's a guy who is in love with her, but she creates a series of obstacles. Just for a director to build the stage action are those that follow the evolution of the plot? In my opinion, no. So what is the really interesting thing? The book tells a story, then you as a director say, here's Castel Sant'Angelo, here is the ballroom of the masked ball, here is the scope of the harvesters, but there is a story told music! Then there is the point. I felt that the story Donizetti was music that told a story about the light, was a desire to light. Of course I may be wrong, but I have heard the way he consult in seeking clarity in the musical texture, this reasoning very strong light. Then, beyond that which is the evolution of the plot, I built a world that is having an affair with light and music that Donizetti wrote.
Then she tried to bring the work to the original spirit .. . to bring it back to the original spirit in a new form, because in some cases the original spirit of these things is the most modern of the alleged modernity, because basically the modern, second me, what is he really? E 'essentiality. Now, in the essentiality Seneca is modern, for as he writes, for the speed, the incision can build. A journalist who writes today can not be totally modern. Elisir d'amore is encumbered by years of props, because they make real hay, tractors, baskets, farmers, neckerchief. An addition to burglary, I would say. E 'right? You might say, but expensive cap, how do you think she did Donizetti in Milan in 1832, when he staged? There was not a skyscraper, there will be a field of corn! It 's true, but it was painted! It was a painted backdrop. The painted backdrop in itself creates a magical relationship and fabulous. The painted backdrops and then allowed a distancing from the fact realistic to say: Now we will show you the country, but, mind you, is a game! What's the really interesting part of the show without trying to make things from it? If I make you see ' Annunciation by Leonardo in the Uffizi Gallery, I'm asking for collaboration: that I'm asking the viewer to believe with me, and then to start the imagination of the individual. But if I fill you with visual events in the scene, you witness, you have fun too, because it can reach the helicopter, the limo with Don Giovanni, Donna Elvira with Suzuki, and you say: looks, the Suzuki comes into the picture! But these things could have value in the fifties when Garinei and Giovannini did appear in Rinaldo field in the three robbers with the donkeys, who were singing 'we stayed in three', and it was fun. We are no longer at that moment, we are no longer at that stage, we are no longer in that context, so many times is the essentiality ancient. The former is essential - in some cases - so much so that - in some cases - still surprised us greatly in the face of traditional forms of painting and sculpture. Why? Because there is an essential sign. There is nothing more than what it should be: and the most difficult to write, as in the staging, you do things where there is nothing more than what it should be. Just one more thing and that essential is compromised.
If you could choose a work to be staged ... do not have a desire, a dream about what you put on stage. I liked it until now work on these adventures that I have graciously been proposed. I was lucky enough to know that I consider very young ones of the great masters. The closeness with Riccardo Muti when you have 33 years and made his debut in the world of opera, is a gift from the Almighty, the proximity of Roberto De Simone, another gift, to have known close by Giuseppe Patroni Griffi, Raffaele La Capria, Gioacchino Lanza Tomasi, are great gifts because they just come into this world that brings an ancient culture and modern culture, great expertise. Now it seems that to look away should always try to stand on the shoulders of giants, in some way. Surely I would love to stage Rossini or Mozart. Mozart I have come close because I staged Cimarosa: it is somehow a kind of ancestor! But I must say that you want to put on stage only to the extent that there should be a musical project with a director who wants to do a certain kind of work do not do it, at all. In fact most are concerned, passionate, one thing to put on stage, I become more cautious, because it has such a delicacy! We must ensure the protection, nurturance. One thing that distinguishes me is that I have withdrawal symptoms, meaning that if for example a year or two I'm not a theater director I'm fine, because I read, write, and if I do not put in an opera scene live well. There are many directors who have this phenomenon, most just out of charity, dependent on the stage, they really need that atmosphere, that environment. Fortunately, there are many other things in life and then there is a certain balance.
will be published Thursday, February 17 the second part of the interview, dedicated to Roger Hood writer
L'Elisir d'amore Music
Gaetano Donizetti
playful melodrama in two acts Libretto by Gaetano Donizetti
Felice Romani
Duration: 2 hours and 40 minutes (range)
Tuesday, February 15, 20.30
Thursday, February 17, 20.30
Friday, February 18, 20.30
Director Bruno Campanella
Directed by Roger Nicola Hood
Scene Rubertelli
Costumes Carlo Poggioli
choirmaster Roberto Gabbiani Lighting design
Augustine Angelini
Interpreters
Adina Adriana Kučerová (4, 6, 12, 15, 17) / Rosa
Feola (18)
Nemorino Saimir Pirgu (4, 6, 12, 15, 17) /
Ivan Magri (18) Fabio Maria
Belcore Capitanucci (4, 6, 12, 15, 17) /
Gezim Myshketa (18)
Dulcamara Alex Esposito (4, 6, 15, 17) /
Simone Del Savio (12, 18)
Erika Jeannette Pagan
ORCHESTRA AND CHORUS OF THE OPERA
New production of the opera house
go to the site of the Teatro dell'Opera di Roma
(photo Falsini CM)
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