Carla Moreni, 10/18/2013

Yet another confirmation for Leo Muscato with the new Masnadieri, debuting this week at the Verdi Festival in Parma, and deserving to turn to other theaters. They are a nice pocket sized story:  they are collected in the enclosure of a platform of declined  boards, but on that little tormented  ring anything goes; they do not need impressive scenes, for  Federica Parolini just a round of high curtains, damask, to transform internal and external rooms of the castle and woods, with the lights of Alexander Verazzi perfectly played. The story is, everything. seal with tension of a dramic prose. So feels Schiller, the source of the libretto by Andrea Maffei, and the German Romanticism, carried loyally in the capable costumes from cut, fabrics, colors,  by Silvia Aymonino. (...)the  theatrical culture wins, in the impetuous robbers Masnadieri. And it is amazing how a director is so devoutly historicized, with singers trained to be actors, let to emerge at full hands the past and future relationships of the Opera. (...)





By Francesco Rapaccioni, 16.10.13

<>1.(...) Leo Muscato, one of the few for which it pays to go hundreds of miles with the certainty of not being disappointed. He is man and intelligent and sensitive director, cultured and intuitive, that has given us over the years shows facts of little props and many ideas that have left an indelible mark (...) As always, Muscato from a stage set well but made by little things, "poor" in the sense of the term certainly not derogatory but crepuscular, objects viewed with deep affection and great bearing on the story. In this case the almost fixed environment by Federica Parolini consists of a kind of ring, a floor a bit tilted with rough boards, wooden planks interspersed with cracks (where at times you sneak the beautiful lights of Alexander Verazzi): it is enough to just raise some parts to make sense of the cemetery with tombstones. For the interior using a bed and a few chairs, and to create a dual environment, a light linen patched curtain but embellished with a border of lace. The forest is made with logs with bark like elephant legs in the fourth act that remain suspended in the air making the atmosphere surreal and claustrophobic and slipping into the nightmare. The costumes by Silvia Aymonino serve to characterize historically the facts and more linger on details that exteriorize the interiority of the characters and characterize them more ( the stick and face ravaged by Francesco , for example ) . A historicizing faithful who does not fail to fly high to the theater culture of the director and his ability to recite the singers as actors of prose. And these bandits, rather than villains, appear as lost souls, confused young people attracted to material pleasures and dominated by a powerful and impotent rage, united by the rejection (totally prone to their age) compromises and injustices of life, at a time victims and executioners of their own unresolved lives, armed with four knives and sickles found almost by accident but forged by a sense of incorruptible honor.Leo Muscato offers a show of great significance both in a historical and contemporary. It captures with the staging to the then Verdi: a weak reference to the war, seen mainly as inner, present in the minds of the devastated protagonists; The Schiller evocation of a world in decay and the fierce criticism against the age of reason in the name of the power of feeling and emotion; the confusion of young people who have lost the reference points to brace credible values and therefore in polemic against any kind of power and established institution; the revolutionary feeling enhanced by the romantic instances; femicide perpetrated with almost casually and inevitability; irreconcilable contrasts in the relationship between fathers and sons and brothers. There is everything in the show and everything is clear and understandable, as the plot flowing with a linear narrative and a strong theatrical sense. You see that Muscato is from prose and knows in detail the rules of the performing arts: his bandits are extremely the most modern and, at the same time, extremely respectful of the libretto and the score. All the pursuit of happiness. All unable to find it in the little things of everyday life. (...)





Guido Barbieri, 10/20/2013

A heart of fire, in an iron shirt. The dominant  affects, in the Masnadieri by Verdi are incandescent: hatred, madness, revenge. But the lava of the drama is forced to flow into formal schemes ever so rigid: a scene closed, recitative, the cantabile, the cabaletta. An explosive disagreement that each one of Faber of the new staging offered by "Verdi Festival" resolves differently. (...) Between fire and iron the staging of Leo Muscato who chooses the wood: a flagstone of rough planks, a black forest that rises in the air, a disorderly  throne, a deathbed. Appreciative audience.





By Mirko Bertolini, 10/20/2013

Great success for the last work of the Verdi  Bicentennial Festival in Parma (...)

Parma has entrusted its new exhibition at the hand of the director Leo Muscato, who has skillfully staged a new work in full respect of the tradition, meeting, with elegance and sophistication to the needs of the budget that the Festival has faced. Certainly a director that tends to minimalism, but nothing is left to chance and the characters are outlined temperamentally and psychologically in an excellent way. The sparse and sober scenes  by Frederick Parolini, are in perfect harmony with the work, although some may be found objectionable, as the marquee of the opening scene. Even in the absence of decorative elements, the scenes are filled by beautiful consistent  costumes by  Silvia Aymonino. A construction outlined by bleak, dark, like this drama. Appreciated for taste and traditional directing that never hurts! (...)

The Royal Theatre in full force with a truly international audience, who enjoyed the show and the singers, by paying a warm applause at the open scene (...)



The OPERA, November-December 2013


By Giancarlo Landini

The new edition of Masnadieri  should be considered the strength of the Verdi  Bicentennial Festival that, despite the difficulties of the present moment, managed to celebrate the anniversary, with ideas compensating the scarcity of means.

The new edition of Masnadieri  should be considered the strength of the Verdi  Bicentennial Festival that, despite the difficulties of the present moment, managed to celebrate the anniversary, with ideas compensating the scarcity of means.

The show relies on the organization and the direction. The first is signed by Leo Muscato, which uses the scenesby Federica Parolini, costumes by Silvia Aymonino, and the lights of Alexander Verazzi. The story takes place on a wooden platform that in turn hosts the sites of action, called by some furniture, a bed, a chair, ... all around the scene simulates a forested and steep environment. It is a happy solution in which the first merit is to ensure a seamless  novel, highly segmented in a drama, in many frameworks, as happens at the Verdi Years of Galera.  Then the director  offers  the opportunity to focus on the characters, shaping them, one by one, and calls them to interpret real and credible. Muscato arises therefore as a follower of the great school of Italian theater that, while accepting the need to modernize the ways and forms of representation of melodrama, believes useful not to overturn the assumption, but work on the characters, making them stand out in full expressive  force. (...)