EXTRACTS REVIEWS - THE CAMPIELLO

 

 

WWW.LIRICAMENTE.IT

By William Fratti, 10/15/2014

(...) Leo Muscato creates a show - without breaks, thanks to which prevents the loss of the emotional touch of comedy - with his usual real director skill - one of the few who can seriously and honestly use this noun to identify their profession - certainly faithful to a book that already contains a myriad of director's notes, but can lead to a really effective recitation of mimes and soloists, made of actions, gestures, looks, scenes of primary, secondary and by-play, where everything is always on the go, you never get bored, but at the same time the attention is not even lost the and there is no distraction from the main story.

The magnificent and very real scenes of Tiziano Santi lead the viewer into a real Venetian square, which changes the appearance over the centuries, from Goldoni, Wolf-Ferrari, to this day, still without losing its original identity, dictated not only by the place - Venice is eternal - but above all by its inhabitants, who in 1756 throw garbage in the street and then sweep it, but in 2014 abandoned bags blacks in the corners; in past centuries the table divided, now taking a Selfie.

In this timeless comedy - observed from afar by the spirit of the same Goldoni - even costumes by Silvia Aymonino really hit the spot, and are able to diversify on duly time  the various characters also in the historic transition (...)

 

 

WWW.OPERACLICK.IT

by Fabrizio Moschini, 25/09/2014

( ... ) Going beyond the usual directorial " dilemma " respect of the period provided for in the booklet ( which in this  case , however , coincides with the one in which lived the author of the "subject" ) , or the time of the composition of the work or even that of today in which the spectator assists , Muscato proposes all three at once . The first act is in " traditional " clothes of eighteenth-century Venice Goldoni , the second is set in the mid-30s  and the third in the present day , with a little square where even a gift shop popped up. A cautious and a bit' surprised Goldoni is haunting the places of the beginning of each act .

Intriguing choice, well developed by the director, who has the advantage of not losing even a crumb of narrative continuity despite the "rush" time, thanks to the obvious skill and attention to detail and meticulous work on the acting of the soloists.

The scene of Tiziano Santi is simple, but a visually pleasing result that is contributed by the costumes of Silvia Aymonino. (...)

 

 

WWW.CORRIEREDELLAMUSICA.IT

Lorena Vallieri, 09/25/2014

(...) Interesting, for example, the idea of ​​setting the three acts in different historical periods. Opening the curtain we are in 1736, the year in which Goldoni wrote the hit comedy that inspired the book by Mario Ghisalberti. A dialect comedy, with a lightweight  plot (the wedding of Lucieta and Gasparina, the quarrles of the inhabitants of the Venetian square), able to focus attention on the lives of the people who, as has been rightly noted, are the real stars of this by Goldoni. Elevated to the dignity of literary and theatrical, it manages to prevail, with the vitality and optimism, on the few noble characters in the text. And then the scene rightly  opens on a small square, returned in its everyday truth. The buildings in the square, with windows and viable balconies, are reconstructed in a realistic way, and their beauty is emphasized by the dim lights of Verazzi that give the whole setting a poetic vein. (...)

 

 

WWW.GBOPERA.IT

By  (?), 09.25.2014

(...) For sure the final effect of the work when, after a very  melancholic "Good day, dear Venice " in tune with a beautiful  bound from Marianelli, all the characters the cheerful concluding notes pile up on each other behind Gasparina which, before leaving, takes the classic Selfie: entertaining and enjoyable, in fact, made even  more enjoyable by the beautiful costumes by Silvia Aymonimo and scenes by Tiziano Santi. (...)

 

 

WWW.MUNDOCULTURALHISPANO.COM

by Mirko Bertolini

(...) The Florentine musical May has entrusted this new production the expert hand of the director Leo Muscato who has already demonstrated at home and abroad to be able to join the Italian theatrical tradition with innovation.  Even in this  campiello it is not denied. The setting - of course - could only be Venice, where the term "campiello" means a small square, the kind that are mostly surrounded by poor houses and inhabited by people of low condition. That of Wolf Ferrari is inhabited by people who are noisy and funny and in it are intertwined sweet love stories. Muscato manages to depict all of this; also many funny scenes are handled with grace and humor that arise that are spontaneous and never forced. (...)

 

 

WWW.GOTHICNETWORK.OTG

By Daniela Puggioni, October 15, 2014

(...) The acting of the characters was convincing, the result of an excellent work with the singers, who played with lively fluency their roles, and that has paid off in engaging choral scenes of quarrels and celebration. The long applause of the audience, who have enjoyed and it showed that they have enjoyed the show, they welcomed all the performers at the end of the Opera

 

 

WWW.ILCORRIEREDELLAGRISI.EU

By  Marianne Brandt (pseudonym)

(...) Leo Muscato, helped by the beautiful scenes designed by Tiziano Santi, so precise and slender as well as a festival of colors, very punctual costumes by Silvia Aymoino and authentic lights by Alexander Verrazzi, identifies with Goldoni, appearing on stage without ever being intrusive, and leads us to look with the tittle-tale eyes of the poet, as there is the normal life of ordinary people, in this "campiello". A universal look that knows no barriers of time: every act, that is, reflecting itself in three  different periods (one per  act: 1750s to the 1900s, 2014), spectacularly distinct from significant and compelling detail, thoroughly telling the story of a modern humanity that has not changed in centuries, the ways of dealing with life, the game of feelings, class differences and desire, despite the technological achievements , moral , taste , style , and even urban planning . It does not become only a matter of changing clothes, but a real different way to act the same opera in three different contexts and this directional choice works with tight logic and the intelligence of the message.

 The obvious and self-deprecating " Selfie " finale with which  Gasparina concludes the work , and that includes in a single smiling image , all the characters from where  both of us dismiss. ( ... )