IL SOLE 24 ORE 29.07.2012



By Carla Moreni


If every theater has a symbol, the Sferisterio of Macerata is the wall. High, protective or separator, the acoustic soul of the outdoors show in one of the audiences more capacious (2800 seats) and important (48 editions of the work). Who wants to do theater Sferisterio must be measured against him. Fight it, absorb it, use it, enhance it or neutralize it. The teacher who had never won more than anyone on the wall had been Bohemian designer Josef Svoboda, who had partially transformed a 250 square meters of oblique, crooked mirror wall, to split the Traviata by Verdi, giving her the truth of us all with her, in the end, in the flicker of silver panels. Entertainment twenty years ago, the author died ten. Unsurpassable model. Road Closed. Wall on the wall. Never say never: this season Sferisterio has bet on new forces of the drama theater. (...) The proof of the spirit of involvement you had, starting from the smallest: never heard the choruses of children Sferisterio so convinced, sharers, vital. It may seem a paradox, but in the theater when the parts of children (if any) to come out better, it means that the scene is not inert, the show is true. He has won fully with Bohème, by reading poetry, cheerful and raw of Muscato, the posters of the dispute shown Parisian graffiti, in the scene strong and agile Federica Parolini, convertible at sight, and with costumes by Silvia Aymonino tender, tenacious in floral and kitsch 1968’s.  A direction of prose picked up from a small theatre that’s gaining altitude, calling to not miss any beat of the Puccini conversation song, thrown out  with great acting ease. ( ... ) Muscato asked to his staff to enter in the friendly carefreeness, in the radicalism of the youth protests .The interpreters have believed (...) He believed the director, Paul Arrivabeni, who has found rich  sound in detail and harmoniously prized by an temporary orchestra, the region of Marche He believed the Choir " Bellini " , reinforced in crucial  movements along the Parmesan Ballet Civil in Café Momus , never felt so light , dramaturgy , in levels intertwined. They believed , in fact , the wild child with balloons , that all end up in the sky .But above all he made the auduience believe : the death of Mimi, on the hospital bed, with a force that drew Murger , yes it was a stretch to Illica and Giacosa. But he reached the goal of making us touch the marble of the last bars of Puccini .





By Elena Formica


(...) Bohème: Fantastic. Muscato and a perfect cast put powerful, colorful, fearless wings, in a show to remember, to view and review. Paul Arrivabeni - now that is a director! – He made throb, sparkle, languish and crackle of a thousand flames Puccini's Bohème a crazy, overwhelming, paradoxically true, setting it in the late '60s in the Paris student riots, strikes and factory occupations and construction sites, in that formidable utopia that has had the power to change the world, but not the man who lives there; just as the youth that has irresistible instinct to fertilize the time with his seed, go as he goes. But this, guys, is "life from Bohème, happy and desperate." And with who Mimi dies, closes the curtain on a burning season that is out of control. A show, this of Muscato, superlative. Unforgettable. And sometimes forger for the sake of truth. A truth of the drama, which has something more than the booklet. Mimi dies in a hospital bed, Rodolfo shouts her name while the nurses take her away, over a door that swallows, with her, a season irreproducible. (...)A bohemian tio reward, absolutely to be awarded..For everything. Even for scenes of Federica Parolini, costumes by Silvia Aymonino, lights  by Alessandro Verazzi.



THE REPUBLIC, 29.07.2012


By Angelo Foletto


(...) The rewritten nostalgic action of Muscato consistency captures and convinces us of detail and ensembles. The acting repealing routine operatic, but does not give in to the generality youthful. The gestures are the 60-70’s, nothing less of the deafening costumes of Silivia Aymonimo, of the furnishings of Federica Parolini, of the wall poster of Marcello, of the montanelliana Olivetti of Rodolfo or the pink Basque of existentialist Mimes. The evocation illuminates hearts and nostalgia: the attic? a 'common' of students. II Act II? An evening at Piper, a hairy band, lame fabric and joints. The third is in front of an occupied factory: metallic net fence, cops, drums, bonfires, Eskimo and Citroen-alcove. Mimi dies in hospital, between suspended drip and passge of the personnel which certifies another white death.

The special cast ( Giannattasio , Meli , Gamberoni , Salerno , Porta and Concetti ) , the direction of Paul Arrivabeni , and the sensation that they all might believe the same thing , they have been infected . ( ... )


(...) But the new Bohème is a  show of high level. In the wise hands of Paul Arrivabeni the execution is safe: the cast (Francesco Meli, Carmen Giannattasio, Damiano Salerno, Serena Gamberoni) is excellent. And the staging of Leo Muscato, set in Paris in '68, students and workers against the "owners" slogans against the "fascist" police etc., And to say it seems free, unrolls with a linearity, simplicity and an attention to detail that brings back characters and situations to their profound truth: the way is no light-hearted content. I wonder if Michieletto is able to do better in Salzburg: for sure he will have to go all out. (...)



WWW.TEATRO.ORG 21.07.2012


by Francesco Rapaccioni


(...)Muscato is fully convincing in choosing of setting in the sixties of the twentieth century the Puccini opera, maintaining complete fidelity to history and to the plot. The composer chose to backdate compared to his age in order to situate it in a time of intellectual ferment, therefore, before the revolutionary movements of 1840; Today a similar period is necessarily that of the sixties of the last century. Here is the attic, which is accessed by a trap door, which seems a flat of young university students: Rodolfo struggling with the job of a journalist is ticking a "Letter 22", Marcello paints with the brush (and the floor is covered by a cloth with flashes of color that recall a delicate surrealistic dream,), Schaunard plays electric guitar expressing his rock soul and Colline does not split from his books carrying them inide a cart. Mimi sings sitting across from them in an armchair, with his legs dangling from the armrests. The second scene is splendid, a party at the bar that becomes a Christmas party by the style of musical: the choir on the cubes, the fuchsia lights, zebraprint furnishings like the clothes of waiters, the greasy pole of Parpignol, children with balloons in hand then flying in the sky. An act so light and fun, that once finished, you would want it to start again immediately. The third theatrical framework shows the other face of the Sixties, the workers' protests and clashes with the police for the recognition of the rights of the workers. We are in front of the foundries d'Enfer, a long fence borders the workers inside the factory, guarded by riot police intent to remove porphyry cubes just thrown by protesters. The reference is to the original refined: a billboard in a corner offers the menu of the bistro d'Enfer. Musetta harangues the workers as a union leader, Marcello sleeps in a pickup truck over the barricades. A lonely bench in the proscenium allows Mimi the actions under the plot framework. In the fourth theatrical framework we are back in the attic, but time has passed and the boys are leaving, packing the few belongings in boxes sealed with tape that transporters in overalls carry away for the move. The transition from the first to the second moment of the picture is very effective, a cinematic leading from the attic to the hospital room: genius (...) The scene of Federica Parolini is perfect, simple and colorful at the same time (to view the two scene changes are themselves a show), as perfect is the choreography of Michela Lucenti assigned to the staff of physical theatre Civil ballet; gorgeous costumes by Silvia Aymonino; beautiful lights by Alessandro Verrazzi. Leo Muscatp reconfirms himself as a talented director, able to apply the actor cure of the prose also to the Grand Opera, sculting characters and giving to the action a great dramaturigical significance.

A director who is at the center of all the role of the singer-actor and uses few, economic (but very poetic) elements to recreate a world, revealing great sensitivity. (...)




By Domenico Ciccone


In the exposition of his idea for directing Bohème, Muscato started with an interesting consideration: Puccini chose to set the opera in Paris in 1830 to arouse in the audience the memory of an era of political tensions and cultural barricades but also of great ideals, of young people who flocked from all over France with the desire to reingnite large revolutionary impulses, so as to bring the viewer himself to remember firsthand their youthful ardor. To make a backdating similar to Puccini,  Muscato led the setting to 1968, a period of political turmoil and a similar explosion of idealism, of young people in the square and opposing tensions, but also of great ties, love and passion, all of which are blended perfectly with the musical and dramatic world of Bohème. Transposed onto the stage of this directorial vision succeeded in being really compelling: the attic of four friends, there is a real attic because it is accessed by a trap door, is colorful and busy full of common objects, paintings and drapes trinkets of all kinds where the you breathe youth deeply. Simply spectacular the second act, turned into a giant psychedelic musical in a triumph of zebra print furnishings, flared trousers and African-American hairstyles, but without the result compromising in the least the listening to of the music. Indeed, you'd think that the waltz of Musetta Puccini had written especially for the stage by providing the rhythmic accompaniment of four boys, with the singer wrapped in a dress of lame fabric, or  in the finale they had to come Frank Zappa with a side of guitarists that move in perfect time with the music, while all other characters are unleashed to dance. Likewise extremely coherent with music and drama transform The Barriere d'Enfer in a foundry, covered with pacifists and environmentalists posters because of its being a source of pollution, and therefore the death of Mimi, who fell ill because of the effluvia of the foundry. By the end of the opera, Muscato wanted to refer to the novel by Murger, in which Mimi dies in hospital, without Rodolfo at the bedside because of a lack of communication with physicians. Again the directorial choice has been thrown there by chance: Anyway Mimi could not get in the attic because her friends were evicted for non-payment, as we see the opening of the fourth framework. Intent to prepare the packages under the gaze of a grim Benoit (how many of us, looking at this, they thought that the old landlord would eventually grow  tired of subterfuge to not pay the rent?), Rodolfo and Marcello sing " Mimi O thou most do not come back "among the remains of their carefree life, now dissolved under the blows of the reality of rent and bills to pay. There may be some concern at the appearance of Mimi on the hospital bed being pushed by nurses and a doctor, who will turn around and prevent Rodolfo rushing to her bedside, but everything is far exceeded by the evolution of the dramatic scene. The singers have fallen in this direction with great professionalism, and have shown themselves especially to believe in what they were doing on stage. (...)



WWW.GBOPERA.IT 26.07.2012


By David Oliver


We could mention the wonderful book by Lawrence Ferlinghetti " Paris , 1968 : The love in the days of rage " in order to present the second exhibition of the Macerata Opera Festival with " La Bohème " by Puccini . An exhibition that is said somewhat debated and contested ( and then by whom? ) , But that was actually a true revelation of this year for fresh ideas and more. Around the characters of Mimi and Rodolfo everything moves continuously, while the feverish passions and demonstrations change everything and nothing. Eternity seems to be represented only by a fresh and lunar attic, a sure light bridges between infinite, between passages in form and essence. The mazes of appearances. Paris is the real star of the scene, the Latin Quarter with a coffee Momus which turns into a nightclub with zebra cubes on which the choir performs in a dance group during the Christmas celebrations, The gate of Hell transformed for the occasion in the foundry hell with the long reticulated gate surrounded by groups of strikers, and in the end the attic between the roofs of Paris now emptied of colors and disenchantment becomes a hospital room with a lot of doctors, nurses in the act of assisting the poor Mimi dying due to their toxic fumes from the foundry. This scene with sporadic audience disagreements have attempted to make their way through the thunderous applause. It 's clear that we are often faced with a forcing of the libretto by Giuseppe Giacosa and Luigi Illica and at several points it is more than obvious, but who cares? The staging is always credible, consistent with itself and never obscures the story. The scenes of Federica Parolini are absolutely great-looking, the perfect background direction of Leo Muscato who has been able to work with singers / actors as in the highest tradition of prose. The costumes are colorful by Silvia Aymonino: materials and style full "Hippy style" but with a taste all exquisitely French. The choreographic movements of Michela Lucenti assigned to the staff of physical theatre Civil ballet and the lights of Alessandro Verrazzi have created the perfect frame for this machine absolutely overwhelming. Also the level of the preparation of the music and voice peaks with true excellence. Paolo Arrivabeni who ran the Foundation Orchestra Regionale delle Marche properly dominated interventions of the various orchestral sections resulting in tune with a stage often very busy and at the same time in the most intimate moments has been able to highlight the valuable orchestral palette of this masterpiece. (...)A  really excited audience that applaude and acclaim with overwhelming generosity as you have not seen at the Opera for a long time