IL CAMPIELLO

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NOTES

 

Goldoni is one of those authors that I speak whenever I feel the need to question the world around me. It seems an oxymoron, but it is not. Because his theater takes you by the hand and leads you into small and simple worlds that you could never see unless you were showed by him. Actually he does not show them to you. He creates the situation and relationships that evoke small, credible, worlds and you have the feeling of spying through a keyhole. A little bit like what happens with the stories of Carver and paintings by Hopper.

 

The characters and the setting of his characters return to an eighteenth-century fresco of disarming wonder and irrepressible irony. And the work of Wolf-Ferrari favors and exalts these moods. But it does not stop there: the music sinks its claws in even with melancholy undercurrent already inherent in the text. It does more: it tries to make it "necessary" to the new audience he has addressed. Despite the eighteenth century setting, his music makes the work decidedly twentieth century. And was this anachronism to suggest the key to use to open "the secret" of such wonder: making it  necessary the audience today, the works that Goldoni and Wolf-Ferrari produced for their respective audiences. And that required it to continue to pursue an idea of ​​theater that involves invisible direction, direction that trusts and relies on the existing drama, without necessarily overlapping another. And it is a concept that has nothing to do with the environment, because in a work are three dates which cannot be ignored: the setting of the story, one in which the opera was staged for the first time, and that of our debut edition.

Three dates that in the case of the classics, often correspond to three different historical moments to consider.

 

In this case, for the first time in my life, the insight came at first listen. I immediately realized that I would not have to stage this in a manner otherwise. Not now.

The transformation was to be the cornerstone of this work. Hence the decision to set our show in three different periods: that of Goldoni, that of Wolf-Ferrari and ours. The real hero of this story is the small square, "character" alive and changeable that sees scroll the centuries on their walls, in the streets, on bridges, canals. Change the habits and customs, but the characters retain the same characters sketched by Goldoni. Why can change eras, fashions, cultures, but do not change the underlying feelings and urgencies primary human beings.

So our little square becomes "the part for the whole" of a Venice that is transformed into a huge open-air museum, looted from a tourism wild, very different from the idea of ​​travel and discovery inherent in the life of Goldoni.

And in our work, Mr. Carlo Goldoni is the silent witness of this transformation. Legend has it that he camouflages between the common people to observe closely to be able to "copy" behaviors, languages, relationships. And we have decided to give value to this anecdotic and we came up with the figure of a taciturn man who, through the centuries, continues to wander through the narrow streets of this small square, listening to everyone without revealing anything about himself. It is a kind of divinity that is there to remind us that in the theatre everything is fiction. But if the fiction is true, it can really help us to understand better the reality.

Teatro dell’Opera di Firenze

co-production with Teatro Verdi di Trieste

 

“IL CAMPIELLO”
play in five acts by Carlo Goldoni
libretto by Mario Ghisalberti

music by Ermanno Wolf-Ferrari

 

staged by LEO MUSCATO
set design TIZIANO SANTI
costume design SILVIA AYMONINO
lith design ALESSANDRO VERAZZI

 

assistant director ALESSANDRA DE ANGELIS

assistant costume VERA PIERANTONI GIUA

 

photo by SIMONE DONATI

 

conductor FRANCESCO CILLUFFO

 

with

Gasparina ALESSANDRA MARIANELLI
Dona Cate Panciana CRISTIANO OLIVIERI
Luçieta DIANA MIAN
Dona Pasqua Polegana LUCA CANONICI
Gnese BARBARA BARGNESI
Orsola PATRIZIA ORCIANI
Zorzeto ALESSANDRO SCOTTO DI LUZIO
Anzoleto FILIPPO MORACE
Il cavalier Astolfi CLEMENTE ANTONIO DALIOTTI
Fabrizio dei Ritorti LUCA DALL’AMICO

 

and the actors

 

ROBERTO ANDRIOLO

MAURO BARBIERO 

SILVIA  BENVENUTO

FEDERICA FABIANI

SIMONE FALOPPA

SILVIA FRASSON

ALDO GENTILESCHI

MIMMO NUOVO

BENIAMINO ZANNONI

 

Orchestra e Chorus of Teatro Maggio Musicale Fiorentino