Il Sole 24 Ore, 02/15/2015


The work of Poulenc in excellent reading by Leo Muscato reminds us of the  violent  extremism of our days

By Carla Moreni


(...) But above all, to make shine at Petruzzelli Les Dialogues des Carmelites, investigated and narrated with perfect timing, was  the direction by Leo Muscato, in the precious  team of Federica Parolini, set designer, Silvia Aymonino, costume and fundamental lighting design (and then we’ll tell you why) by Alessandro Verazzi. The original element, the strengths of the show, was the invention of a double level of reading of history: above, at the top of the stage, it took place the external one, official. The collective history, with a capital “H”; described by symbolic flash of a few situations mimed during the symphonic interludes, provided by Poulenc between different frameworks. Below was closer and completely alive the small and private story of the convent. Scanned on the daily themes of a life cut off from the great history: when above waving flags and carrying poles with the first severed heads, below we were dialoging on the better functioning or an iron, while hanging out and picking up (wink to Strehler) the sheets and large shirts.

Even there, below, beating a strong history. But it is not political. Or rather, what is deep vibration, echo of the life outside. It’S reflection on the meaning of life, fear, death.

Muscato remains patient, listening. Measure with wisdom the different acting styles, distilling the parts of suspended  poetry (beautiful choral images, almost a mold of classic bas- relief, because of the robs of the nuns), the epic register, the comedy. The interior of the convent, closed by other grates, it cites the Vatican rooms of Raffaello.  In the final scene, the guillotine, you already get dripping with emotion, in a crescendo also created by the walls of abstract painting, beautiful. Here, in the most dramatic moment of the story, where stories and history have become one, the director is cold, building opposite to the effect: the ascent to the gallows is a cinematic climb diagonally a black wall. A half bust, half face, one by the Carmelite becomes like targets for the shooting gallery. As each of them falls the whip of the guillotine, which is a simple (but brilliant!) Sudden darkness, at the exact time in the design of the lights. The casing of the scene , remains motionless , while the volume of  Save the Queen tapers , until the end of the solo voice of Blanche , the young nun who could save herself , and instead chooses to die . Ermonela Jaho is very effective, flanked by sunny Valentina Farkas, Sister Constance, and from the touching  Mére Marie of Anaïk Morel.

The Marquis de la Force has the voice of history, a bit  weakened , .by Jean - Philippe Lafont . Daniel Kawka is excellent, boutinniere of Petruzzelli.



Coherence between faith and life and monstrosity of power in the beautiful staging of 'The Dialogues of the Carmelites'

By Enzo  Garofalo

(...) A challenge that Leo Muscato won cleanly achieving an admirable balance, thanks to the invaluable contribution of the scenes by Federica Parolini, costumes by Silvia Aymonino and lighting design by Alessandro Verazzi. The turbulent historical fresco fact remains mostly in the background, filtered by the psychology of the characters and theatrically made through the wise use of by-play, except in the few moments when the brutal reality breaks into the outer fence of the enclosure and reaches its apex in the final scene in which the sisters climb onto a scaffold singing Save the Queen which is one of the peaks of the undisputed music of Poulenc. An impressive conclusion  - scenically resolved in a genius way - that echoes faithfully the true facts before a shocked crowd and speechless by such faith and such courage. (...)



The Dialogues of Poulenc conquer the Petruzzelli

By  Fiorella Sassanelli

(...) The sincerity of musical work by Poulenc, that unlike many contemporary works ripping the authentic emotion, here joined to an almost "invisible" staging,  the direction of the story was very linear. Starting from the point of view of the nuns, Muscato has exploited the short orchestral interludes to narrate to flash the Parisian events between 1789 and 1794. The realism of the costumes joined the realism of the scenes and find, including the latest, with a guillotine formed by the opening of the diagonal of a fifth dark. (...)



Mystical modernity of Dialogues des Carmelites

By Luigi Paoloillo

( ... ) The direction of Leo Muscato, remark everything, and so the scenes of Federica Parolini, Impossible not to mention the superb costumes designed by Silvia Aymonino), showing us how the microcosm of the Convent, feminine apparently so homogeneous, instead hides inexhaustible possibilities of differentiation; makes us guess, also, and with a light hand, as this small closed world by grates is in fact in continuous osmosis with the outside, with all that happens outside (...)


COURIER MIDDAY, 02/01/2015


By Fabrizio Versienti

(...) The conductor of the orchestra Daniel Kawka and director Leo Muscato nourish a sense of proportion with the directions of the score and the libretto. The staging is elegant in the definition of space, well supported by the scenery along rational and "metaphysics" of Federica Parolini, by the lights of Alexander Verazzi, and costumes by Silvia Aymonino. (...)



At the Petruzzelli  in scene the image of the masses manipulated by degrading instincts

By Maria Caravella

(...) Intense, acute, moving and fascinating staging in politeama Bari that is  represented a favorable opportunity to attend a musical masterpiece of the twentieth century that remains today of infrequent execution. (...)



The "Dialogues" by Poulenc, a fine discovery for sensitive ears.

By Alessandro Romanelli

(...)The choice, it must be said, is very brave, because to produce such an opera is not cheap. The show, however, is really beautiful and makes use of the splendid directed by Leo Muscato, the scene remains essential but (I would say almost "invisible") by Federica Parolini,  evocative lighting design by Alessandro Verazzi. Valid and appropriate costumes, finally, by Silvia Aymonino. (...)


LSD MAGAZINE, 02/02/2015

Convinces the first work of the opera season at the Teatro Petruzzelli with "The Carmelite dialogues "

By Michele Traversa

(...) The director Leo Muscato has chosen to preserve the temporal connotations desired by the two authors and therefore, when the curtain rises, the viewer has before him a scene divided in half: the top one lives with very bright colors the revolution in the buildings and in the streets, at the bottom in shades darker you live the fears of the religious news coming from the outside, which then are the most common human existence, related to emotions, fear the loss of freedom, oppression, death. " (...)



Petruzzelli: the last to the gallows

 By Fernando Greco

(...) A quality performance. In Bari directed by Leo Muscato has been appreciated for effective simplicity in which nothing was left to chance, from stage movements to the play of light and shadows crafted by Alexander Verazzi. Sober and elegant scenes by Federica Parolini characterized by few elements of great visual impact, as the claustrophobic railing that encloses the austere monastic environments or scaffold final evoked by a transverse section at the bottom that resembles the blade of an enormous guillotine. During the interludes, the action plan of the private affairs overlaps a second floor of didactic value showing as an open window on the street, the historical and social setting. Nice color contrast of the costumes created by Silvia Aymonino: on one side the monochrome of the nuns, the other the kaleidoscopic colors of the revolutionaries, in perfect period style as in painting by Delacroix. (...)



Heroic, sweet and immortal: the Carmelites of Poulenc

By  Stefania Gianfrancesco

(...) But Les Dialogues is not only an opera to sing and  the direction by Leo Muscato captures all the nuances of the text making them perceptible yet composed. The space of the stage is used in full by the scenes of Federica Parolini - which sometimes seems to quote Peter Greenaway's Last storm and creates a grand finale from the emotional impact almost disturbing. Even the costumes of Silvia Aymonino contribute