BOHÈME

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Macerata Opera Festival - SFERISTERIO

BOHÈME

libretto by ILLICA & GIACOSA

music by GIACOMO PUCCINI



stage director LEO MUSCATO
set designer  FEDERICA PAROLINI
costume designer SILVIA AYMONINO
light designer  ALESSANDRO VERAZZI
coreography MICHELA LUCENTI

assistant director  ALESSANDRA DE ANGELIS

conductor PAOLO ARRIVABENI

 

with
CARMEN GIANNATTASIO
FRANCESCO MELI
DAMIANO SALERNO
SERENA GAMBERONI
ANDREA CONCETTI
ANDREA PORTA
ANTONIO STRAGAPEDE
LUCIO MAUTI
ALESSANDRO PUCCI
ROBERTO GATTEI
GIANNI PACI



and with

BALLETTO CIVILE




choirmaster DAVID CRESCENZI


Fondazione Orchestra Regionale delle Marche
Coro Lirico Marchigiano "V. BELLINI"
Complesso di palcoscenico di "BANDA SALVADEI"
Coro di voci bianche "PUERI CANTORES
"

 

winner  ABBIATI  AWARD  2012 - "Best Stage Director" 

 

BETRAYAL OF BOHÈME

by Leo Muscato

 

(...)In our staging, the symbolic archetypal slide in the historical subject that sparked the French May; and it is here that we betray. Why, despite the era of barricades and wrecked cobblestones, it was not Murger’s intention to make his four bohemians like revolutionaries proto socialist.

We have betrayed, yes, but looking for relatives. Our protagonists live act and one of the greatest cultural revolutions of the 1900’s, definitely different from the literary and artistic movements of Scapigliatura, but equally disruptive. And since in the first two pictures we see them happy, light, fun and carefree, we cannot imagine them with books of Althusser and Marcuse in the pockets. We think of them more as at that large numbers of young people who animated the Sixties in its aspects of revolution spread, culture and customs. That's how we've imagined it. Mimi instead, She did not. We do not betray the fake grisette flowers of Murger, nor that Puccini, nor that we carry in this scene and who works in a factory that pollutes the lungs that lead up to death. She is a privileged historical subject, not an abstract category of the soul, but of a  category, if anything. Class. The one in the second half of the 1800’s is assembled in the factories grey from poisonous smoke and in the putrid suburbs of the industrial metropolis. She is the real movement of things, is the human sacrifice that sustains the scaffolding of revolutionary thought that moves along the tracks of history. And if in this staging, Rodolfo, Marcello, Schaunard, Colline and Musetta are perhaps pretext "1968", instead Mimi is my first choice. She was a worker and the last at the Murger and Puccini time; It is a worker that dies in this stage; it is the white death that crowd out our times. The real movement, the story is not barefoot, because it is flesh and blood, and death in some cases. It was Mimi lugging all the others, including us, to go to position itself just where the story of the 1900’s attempted revolution, succeeding only by half. We only agree with it.