REVIEWS - THE ESCAPE MASK

 

IL SOLE 24 ORE - 09.09.2012

HILARIOUS AND BOLD ESCAPE

by Carla Moreni

 

A delight, La Fuga  in Maschera by Gaspare Spontini: spirited comedy, the cliché  of  funny Neapolitan opera , where constantly chase the disguised trickster and the search for  love, And you do not know if one serves the other, or vice versa, when in the finale a hint of melancholic aftertaste remains. (...) The stunning production directed by Leo Musacto and concerted by Corrado Rovaris has vitalized the twelfth "Festival Pergolesi Spontini" of  Jesi. (...) Leo Muscato, fresh discovery in the masqueraded Bohemian, remains a good value in the musical direction, he has pace, technique, taste. He knows how to recite the singers in this  Fuga in maschera, where the first interpreters were called actors, is essential. The audience at the Teatro  Pergolesi forget the heat, the fans and laughs heartily. The scene of Benito Leonori is intangible - a curtain fringed with projections - and it works; costumes by Giusi Giustino, between the Winx and Pop, perfect for the identity of the characters and for the masked parade. The company sings and had fun (...)

The Escape fugitive of  Spontini is captured.

 

 

THE REPUBLIC - 02.09.2012

THE "TOY" OF SPONTINI

By Guido Barbieri

 

It will also be a "toy", as Gaspare Spontini called the works of his childhood musical, but the mechanisms of La Fuga in Maschera, year of birth 1800, still work perfectly. (...) Natural, therefore, that the interpreters called together by the Festival Pergolesi Spontini are very fun to restart the rusted  gears of the toy: (...) the director Leo Muscato has turned into a very colourful, restless contemporary vaudeville and finally the soloists who sing, young masters in the ancient art of the art of comedy.

 

 

The OPERA - November 2012

IF THE WORK IS REBORN FROM SMALL GREAT THINGS ... by Ermanno Calzolaio

 

(...) The cultural operation is fully deserving and its success it must first be signed by the staging directed by Leo Muscato. Aided by imaginative (and cheap!) scenes by Benito Leonori, very nice costumes by Giusi Giustino and the exciting lights of Alessandro Verazzi, Muscato unlikely turns  the plot into a kind of comic caricature, which contains the three bumbling henchmen, dancing , playing in rock and acomplex continually enliven the action, at the service of the painter Marzucco, who becomes a modern  Pantalone. The scene is divided into three levels: the action takes place in the main proscenium  , but a clever play of lights transform the back of the stage in different environments, attracting the viewer's attention every moment. In times of crisis, perhaps enough to sharpen our wits to find original solutions at a low cost, as demonstrated by Muscato and colleagues! (...)

 

CORRIERE DELLA SERA - 09.09.2012

THE LIGHT IN THE WORK OF SPONTINI REFOUND by Enrico Girardi

 

(...) And the staging, entrusted to the creativity of Leo Mucato, does not disappoint, on the contrary. A part of the banality of the interweaving, it does not miss to find funny solutions and read the fairytale language of the cartoon

and dictating a mannered acting code mannered acting at the right point. So, not comic Mozart drama, nor farcical caricatures. The musical quality of the Opera, among other things, although very high in certain numbers together, it is not enough to prevent the risk of boredom. Muscato makes it possible(...) Warm applause.

 

THE MESSENGER - 02.09.2012

SPONTINI, WORK FOUND: APPLAUSE AT OPENING SCENE By Gabriele Cesaretti

 

Success full and festive, Friday night, for the debut of LA FUGA IN MASCHERA by  Gaspare Spontini, the first performance returned to the Teatro Pergolesi after 212 years: the work is rather weak and, as in  the case of  recoveries of this kind, it is the execution purpose to maks the work weaknesses, which it has succeeded tp Jesi, mainly thanks to director Leo Muscato that, in functional virtual scene setting by Benito Leonori (the sets were made of continuous projections in stop motion) and with the colorful and imaginative costumes by Giusi Giustino, has created a lively and entertaining show, which won the audience (many laughs at the opening scene) with the cheerful  nonsense of its situations. (...) Long applause at the end of the work

 

 

 

UNITY - 04.09.2012

A WEIRD WORLD FLOATS IN THE FOUND OPERA OF SPONTINI THE ESCAPE WITH THE MASK ON CONQUEST THE AUDIENCE

by  Paul Petazzi

 

(...) The preposterous story is based on the fast-paced game of artificial complications and misunderstandings, and director Leo Muscato tells it in key rightly anti-naturalistic and consciously excessive, evoking "a bizarre world in which to make it happen no matter what" with moves farcical and surreal. The liveliness of the show (co-produced with the San Carlo in Naples) has certainly contributed greatly to the success with which the La Fuga Maschera was welcomed in Jesi. (...)

 

 

WWW.TEATRO.ORG - 03.09.2012

AN ESCAPE FROM THE PASSATO By Francesco Rapaccioni

 

(...) The full success of the operation is without a doubt that of  director Leo Muscato who, on a plot practically nonexistent, has created a light and bubbly show, that allows  you  to pleasantly follow and refers to a cartoon animated of style and elegance, but directed with the attentive care and gestural actor of prose. Thanks also to the scene of Benito Leonori that exploits the projections to move a fixed scene and costumes by Giusi Giustino playing with known figures of today without insisting on the time jump. The director becomes in fact the protagonists: Doralbo is the television magician Otelma, Nastagio is Rudolph Valentino, Marzucco a district  gangster escorted by three bumbling henchmen, Nardullo is a young ecologist rasta, Corallina a dark punk, Olimpia the character of a cartoon always followed by a servant (which indeed is a man of color), Elena is the  parody of the wife of Giampiero Galeazzi conceived by Anna Marchesini. Perfect and essential for the success of the staging lights of Alessandro Verazzi and animated illustrations of Alfonsina Ciculi, definitely attractive to the young audience. (...) Theatre crowded, audience engrossed by the show despite the heat; in the final applause.

 

 

CORRIERE ADRIATICO - 02.09.2012

LA FUGA IN MASCHERA: A SUCCESS by Fabio Brisighelli

 

(...) To make the story an enjoyable article on the scene, entrusted to the uvula of a well-rehearsed company of singers (...) we have already thought of the director Leo Muscato (with the help of his colleagues to the scenes, costumes and lights). Before and behind a colorful, transparent curtain / mobile screen, on which imprinted characters and things (the "hearts" of the couples continue to diastole and systole), the characters of the art of comedy revisited nicely in the shape of brightly shining clothes and of modern excess flow horizontally on the stage like in a music hall catwalk, and if you stand in vibrating opalescence on the back, moving quickly into a kind of "copy and paste" style internet before its time. With these and other fun tricks Muscato gave a (necessary) dose of more smiles to the comedy of Spontini.

 

 

THE JOURNAL OF MUSIC - 04.09.2012

THE FUN ESCAPE  BY SPONTINI by Lucia Fava

 

Debut full of fun and surprise to the Pergolesi Spontini Festival with La Fuga Maschera by Spontini. (...) The staging of Leo Muscato is fun and polite, all focused on the play of light and image projections, with the characters reduced to comic masks that seem to come from a cartoon. Brilliant direction by Rovaris, the singers  fell well in their respective roles.

       

 

WWW.OPERACLICK.COM - 05.09.2012

JESI - PERGOLESI THEATRE: LA FUGA  IN MASCHERA by Domenico Giovanni Ciccone

 

(...) Leo Muscato drops the whole affair into a giant cartoon made of colorful costumes and flamboyant, video projections and gags to great effect, not too over the top and above all always satisfying interweaving libretto and music, almost taking the viewer by the hand to follow the unknown story from beginning to end. (...) Marzucco becomes  a parody of a bumbling gangster, surrounded by three henchmen inadequate to any job that is allocated to them; Elena  a very clumsy girl "forced" in a dress too elegant rubs continuously; Olimpia, a damsel that feels like a delicate flower, but it moves only if escorted by a bodyguard; Nardullo behaves like Pulcinella but dressed like a beast punk; Corallina, sly like few, pretends to be dressing as the sorceress from Winx; Doralbo, seems the imitator loser of the Magician Otelma and Nastagio is a servant who feels like Rudolph Valentino "So it is clearly felt in the effort to draw from the libretto and the music all the sap can play, but it was visible without the slightest of forcing: the action flowed naturally, fun and never boring. Admirable equal degree of commitment of the singers, as scenic as vocal(...)

 

 

 

THE VOICE - 09.09.2012IO

EXTINGUISH THE MAGIC LANTERN  by Giulia Stefano Paride Vagnoni

 

(..) He signed the show Jesi, always rousing to find humorous  respectful of musical substance, the director Leo Muscato, able to impress - with remarkable theatrical  intelligence - a comic timing  to work that in fact it is free, thanks to seven interpreters transformed into all good actors. The costumes were witty by Giusi Giustino and scenes, very basic, by Benito Leonori. The integrated use of projections  continued, moreover  fully justified in a work that has for the protagonist a magic lantern: since the symphony it stands out the shape of a heart that will become the real catchphrase of the work (...)