I MASNADIERI

1/18

TEATRO REGIO DI PARMA

Festival Verdi di Parma

 

I MASNADIERI

 

libretto by ANDREA MAFFEI

music by GIUSEPPE VERDI

 

 

stage director  LEO MUSCATO

set designer  FEDERICA PAROLINI

costume designer  SILVIA AYMONINO

light designer  ALESSANDRO VERAZZI

 

conductor  FRANCESCO IVAN CIAMPA

 

assistant director ALESSANDRA DE ANGELIS

 

with

 

Massimiliano MIKA KARES

Carlo ROBERTO ARONICA

Francesco ARTUR RUCIŃSKI / DAMIANO SALERNO

Amalia AURELIA FLORIAN

Arminio ANTONIO CORIANÒ

Moser GIOVANNI BATTISTA PARODI

Rolla ENRICO COSSUTTA

 

choirmaster  MARTINO FAGGIANI

 

FILARMONICA ARTURO TOSCANINI

CORO DEL TEATRO REGIO DI PARMA

 

photo ANNALISA ANDOLINA e ROBERTO RICCI

 

NOTES FOR A STAGED

 

"I have committed the worst sin

that a man can commit.

I was not happy. "

Jorge Luis Borges

 

The pursuit of happiness and the inability to find it in the little things. This seems to be the engine that gives way to our history. At the beginning of I Masnadieri all the characters are teetering on the tightrope of life. All unhappy, but still all very hopeful to get as soon as what they believe is the key to their happiness. Carlo - kicked out of the house to have perhaps exceeded his youthful rage  - just waiting for a letter from the father that will authorizes his return. He does not know, but at home there is still Amalia, his first love (and probably the only one who had a sense). She is still there waiting for him. For six years. Confident. Meanwhile, she takes care of the old age, sickness and guilt of the elderly father of Charles, the old Count Moor, who cannot forgive the movement of pride that led him to kick away his first child, losing every trace.

And then there is the second son of the Count,  Francesco, afflicted in body and soul with a deep sense of inferiority and an atavistic misanthropy that is gripping. He is locked up in the solitude of the old falling castle of Moor, before turning into a place of oblivion, then tyranny.

It is a world in decay that is evoked by Schiller; and his Rogues tell perfectly the mood of his era, obsessive revolt against the age of reason in the name of the emotion. The drama is set against the Seven Years' War that deeply marked the German people.

Also in the works of Verdi there is a weak reference to the war, but it is an invisible war on the scene, this more than anything else in the hearts and minds of its devastated  protagonists. And among them there are young people that when the curtain rises gathered in a tavern: renegades, students, refugees, civilians, who - taking advantage of anarchy and confusion - create a gang and swear to loot whatever they can. There is rawness in their actions and shamelessness in their behavior. And, in the very first verse, Maffei openly express the violence of their language: he pronounces the words to Carlo of boredom and disgust. Two words that are a bit  the spy light of the shadow line that this young man sees at the horizon . And many others like him: past and present.

Then we should recall once again a chilling fact that Corrado Alvaro left in his diary , words - as now - can still stir the most dormant conscience: " The most serious desperation that can take over a society is no doubt that living honestly is useless”