NABUCCO

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NOTES FOR A STAGED

 

(...) From the outset it was clear that we had to tell this story to bring the visual essence. It was necessary to find an aesthetic that would allow an abstraction from any regard to historical accuracy, and at the same time was a synthesis sufficient to characterize the difference between a conquering people and another forced to hard labor.

We went in search of images that portray wars of the last fifty years in the Middle East and we made one of the many discoveries of the hot water that occasionally in theater lead us back to the wonder of children: many forms of traditional clothes of those lands , still retain the same character that they had 2500 years ago. At one point it was clear that it would be enough only choose the type of weapons they provide the Babylonians, to connote temporally action. With Kalashnikov rifles and we would have given everything to a more contemporary flavor. We opted for bows, arrows, swords and armor, to remain loyal to the temporal distance shown in the libretto. But we have not given up a flavor closer to our time in the quality of relationships and behavior between the characters.

Each decorative monumentality was banned: space is a large box that allows us to tell, depending on your needs, two worlds very different from each other. That of the Jews is very dark, lit by fire, a sign of the divine. The Babylonian, however, flaunts wealth, but does so in a Spartan way, with walls oozing gold, and which are characterized by certain hardness enhanced by the angles that make them up.

The work is not divided into acts, but in "parts"; each has a title and is accompanied by a quote from the Old Testament. Every event is condensed in a few moments, and for this many scenes have a static character, in some cases real dramatic scene. We have done everything to give the show a more cinematic flavor to the action giving a fast pace, and acting as close as possible to the relational qualities that people have in real life. The choir itself is not designed as a mass, but as a group of men and women with a difference, bound by a common fate.

In short, we worked from the inside to get outside. We have analyzed human behavior and had them before turning them into action and then into image.

Now we just hope that all this will turn into emotion .

TEATRO COMUNALE DI FIRENZE

 

NABUCCO 

music by GIUSEPPE VERDI

libretto by TEMISTOCLE SOLERA

 

 

 conductor RENATO PALUMBO

 

staged by LEO MUSCATO

set design TIZIANO SANTI

sostume design SILVIA AYMONINO

light design ALESSANDRO VERAZZI 

 

assistant director ALESSANDRA DE ANGELIS

assistant set design ALESSIA COLOSSO 

 

photo MARCO BORRELLI 

 

with

Nabucco DALIBOR JENIS

Ismaele LUCIANO GANCI

Zaccaria RICCARDO ZANELLATO

Abigaille ANNA PIROZZI

Fenena ANNALISA STROPPA

Gran Sacerdote DARIO RUSSO

Abdallo ENRICO COSSUTTA

Anna VALERIA SEPE 

 

and with the actors::

SILVIA FRASSON, SILVIA BENVENUTO, ERMELINDA PANSINI, CAMILLA BONACCHI, ROBERTO ANDRIOLI, MAURO BARBIERO, DAVIDE LIVORNESE

 

 

Orchestra e Choir del MAGGIO MUSICALE FIORENTINO

choirmaster LORENZO FRATINI



production by

TEATRO LIRICO DI CAGLIARI 

ENTE CONCERTI "MARIALISA DE CAROLIS" SASSARI

 

Winner ABBIATI AWARD 2012 - "Best Stage Director"