LA VOIX HUMAINE / PAGLIACCI
(...) It pleased the large audience directed by Leo Muscato who fell within a space where the boundaries blur their tangibility through skilful lighting. In particular, the Jeunne femme "La voix humaine" is encountered in a place outside, a modern suburb, where the woman wakes up, within an crashed car. A place that soon loses this connotation as shadows and lights make it an unimportant context, directing attention to a "another" space: that of imaginative delirium of the woman.
(...) In “Pagliacci" the highlighted space is that of the back-stage of the artistic life and, most private of artists. Their live stage shows the deep connection with the theatrical life, which ends up being really a "place" of life and death. The bright colors spanning the first scene, the one in which citizens welcome the arrival of the theater company. The story is, in fact, in a summer contemporary which consumes the drama of Nedda and lover Silvio. (...) The agile scenes of Antonio Panzuto and realistic costumes by Monica Iacuzzo have completed the implementation of these two works.
WWW.VOCEDITALIA.ITdi Claudio Listanti
(...) This affinity has been put in good prominence by staging
that we have admired in Jesi by Antonio Panzuto directed by Leo Muscato who, together, have conceived a show remarkably uniform, with a common base and a setting in the same period for an effective 'modernization' of the two works.
(...) The work of Poulenc was not set in a room like Cocteau says literally, the author of the drama, 'with walls bluish, but it can hardly suggest the scene of a crime ...' but in an anonymous street, how many there are in our squalid suburbs, where a woman, blocked by a damaged car, a phone call to the other mysterious person that the text evokes, thus beginning the dialogue of dramatic intensity that is the theme conductor of short works, and that proved to be the real coup de théâtre of this show.
(...) Pagliacci began with the same scene setting and, therefore, with an actualization of scenic part. The tour company that has Canio as its chief comedian says so in a real theater not in a circus 'tent' as tradition has taught us, also proposing a particular angle complete with dressing rooms and, above all, with the back of the stage where they work tailors, helpers and costume designers without to leave behind the contact with the public that in the second of Pagliacci is particularly effective.
(...) The director has indulged fully this new stage conception of this particular musical diptych, offering us a show well looked after in the movements, which showed the good 'ruthlessness' of the drama of Cocteau / Poulenc but also the popular character and the extraordinary scene theater in the theater that masterfully contains Pagliacci , happily seconded by costumes of Monica Iacuzzo and lighting by Alessandro Verazzi who successfully completed the visual part of the show.
WWW.TEATRO.ORG by Francesco Rapaccioni
(...) The direction of Leo Muscato, in his debut in opera, is beautiful, creating an engaging play and effective in terms of drama. It is a staging little done in terms of scenic and therefore all based on the quality of the acting, as the evidence of the previous director who deservedly won himself the prize of the National Association of Theatre Critics.
(...) Muscato can find endless ideas in the folds of the story and personality of the characters; offers many elements with a great sense of theater and especially with great force dramatic, as in the scene where Canio discovers the betrayal of Nedda, a game of opening and closing doors that are closed and do not open, slam, separate, isolate.
The beautiful and very effective scene by Antonio Panzuto is perfect. In the first part of a street that runs alongside houses and a high wall, a sports car crashed into a lamppost, whose cold light illuminates the cell phone monologue of the young woman, dressed in a red coat twisted at the waist, a black bob with bangs and blacks high heels.
After the prologue of Pagliacci, the bottom rises to reveal a theater with dressing rooms upstairs, all visible at the same time: a kind of dollhouse with a staircase connecting the two floors and several indoor and outdoor environments. Well chosen costumes by Monica Iacuzzo, that situate the two actions in today in an unspecified location but that create strong suggestions. Perfect and evocative lights designed by Alessandro Verrazzi, that characterize the staging and have a great merit in the excellent overall result.
The human voice becomes for Leo Muscato a place not so much metaphorical as mental, because it does not want to refer to “different” or “other” meaning
(specific roles instead of the metaphor). Mental because it is the space where crowding thoughts, fears, obsessions of the woman, who has almost hallucinations, seeing shadows and appearances which are instead only in her mind. An amorous delirium consumed inside a bedroom, in complete solitude, but this will be found out only at the end.
(... ) Pagliacci is a proof of extraordinary directorial maturity. Muscato has eliminated the typical trappings of southern Italy but managed in the rare (and difficult) task of making a "Southern soul" in the movements of the stars, in the behavior of the crowd and refined details (like bracelets that rattled the arms of Nedda). What’s more, he showed the behind the scenes of the protagonists, both in the show and in life. And this is the winning element of the director.
The dressing rooms of Canio, Nedda, Tonio and Peppe are visible, each actor has its own dressing room (those of Nedda and Canio are opposites) except Tonio, the idiot (mentally more than physically deformed) is changed in the hallway at the top the stairs. The presence of mimes ("servants of scene") creates the atmosphere of the theater in the theater. References to the theater art are cultured and entertaining, the “tools” used at the beginning by the actors to get into the village (the beautiful red animal with three wheels that moves the wings and tail) to the customs of the pantomime, particularly comic and for this particularly painful, even in exasperate sexual attributes of Harlequin and Columbine (a big bodybuilder and an evaporated increased) in comparison with the huge Clown’s belly . The truth is that love and betrayal, with those costumes, are even more alienating and painful. What about the brilliant Tuca Tuca dance of Columbine and Harlequin on pizzicato strings? And the finale, with the paunchy Canio bearing in his arms the body of Nedda like a rag doll?
Very theatrical, therefore the whole result, until its conclusion, with the stabs given around the audience ( the choir ) .
WWW.OPERACLICK.COM byFulvio Zanella
(...) The performance was further enhanced by the original contribution direction of Leo Muscato. The director has created a Voix humaine away from tradition. Nothing domestic interior, no robe nightshirts or white phone. The drama of the loneliness of the protagonist opens onto a glimpse of an absolutely contemporary metropolitan (scenes by Antonio Panzuto): an intersection near a local spot , a luxurious custom-built just gone off the road going to on to crash against a street lamp. Out comes out a female figure with difficulty beautiful and elegant (costumes by Monica Iacuzzo), wrapped in a scarlet dress that echoes the red leather interior of the car. The woman visibly upset immediately grasps the cell phone and thus begins the long phone call that briefs viewers on all the sentimental vicissitudes that bind this character of a man at the other end of the line, between various interruptions, lies, recriminations, apologies, pleas, interference, etc. in becoming dramatic that will highlight the multifaceted psychology and the fragility of the protagonist. During the telephone conversation the jeune femme interacts with other figures silent passage (especially that of a prostitute who even shows her solidarity with the pain of the protagonist offering her help) until the epilogue: suddenly drops a curtain that brings the story to a internal dimension. Here then the robe and the phone and the setting usual for this monologue. Perhaps all that was previously represented never existed in reality but only in the confused mind of the woman? Perhaps it was only a hallucination? The director leaves the viewer in doubt and in any case does not exclude the possibility, stressing the great relevance and universality of the subject.
THE JOURNAL OF BRESCIA by Fulvia Conter
(...) The director Leo Muscato , on the basis of a beautiful scenic perception of Antonio Panzuto, has set the one-act "as written" that is, in a bedroom, but in a way where the woman gets out of a car with which is over against a lamppost. The way to communicate is not the phone, but the cell phone. The task of the protagonist is certainly more heavily than the gestures that you can do with the cable of a phone, but Tiziana Fabbricini has considerable acting skills and is very expressive.
(...) The scene of "La voix humaine" is served for the first part of "I Pagliacci", with the door of the night became one of the theater and the road suited to accommodate the arrival of the clowns, the Choir and the Choirs. The director was able to move the masses and the singers with the property, and the scenes were very effective.
THE PROVINCE OF COMO by Stefano Lamon
Charlotte Riedijk holds the thread of the work and the audience appreciates the choices of Muscato.
(...) Visually there are those who regret the traditional room but, in reality, the outside scene of Leo Moss and his choices (sports car against the lamppost, the cell phone, the outline of human figures) is effective as the scene of realist Antonio Panzuto. You just connect it to, beyond the curtain, Voix humaine and Pagliacci: the same path soon becomes the stage to the dressing rooms and views on two floors, with internal cross-section of the two-dimensional, real and symbolic.
(...) In the structure of La Voix humaine monologue the audience paid tribute to a convinced consensus of the directional debut in the field of opera by Leo Muscato, who made a dramaturgy effective and reinforced by the vocal presence of Charlotte Riedijk.
THE REST OF CARLINO by Roberto Pazzi
A Sunday of beautiful emotions at the Teatro Comunale of Ferrara..
The emotions experienced are still hot on a Sunday afternoon in our Community Theatre, I would like to express the deepest satisfaction for the two performances of opera offered to our city, "la voix humaine" and "Pagliacci" with music by Francis Poulenc and Ruggero Leoncavallo .
(...) The jaunty modernity of director Leo Muscato, so wise and calibrated, has given rise to an enjoyable show, of rare elegance, measure, preciousness.
(...) Ferrara can only welcome a show worthy of the best pages of the long history of its Municipal
WWW.ILGIORNALEDELLAMUSICA.ITdi Maddalena Schito
A diptych original and unusual for the debut in the opera by Leo Muscato. La voix humaine, for the first time to Ponchielli, stages the psychological drama experienced by a jeune femme (Charlotte Riedijk replaced Tiziana Fabbricini for sudden illness). A phone monologue of 40 minutes where music amplifies mood swings and feelings of the protagonist, between sudden changes of register and eloquent silences that evoke the other presence, invisible, of the lover interlocutor . There is the loneliness of the heart, abandonment and despair of those who loved too. A monologue consumed on the cell phone, on a deserted road and smoky mist, in the heart of a night lit by the cold light of a street lamp. A game of psychological tensions that good singer Riedijk reveals perhaps too early and music and stage action cannot blend in well.
(...) It is these emphases to emerge in the face of a thin and relatively short plot, the ambiguous psychology of the characters and the theatrical relationship that invites the viewer to a careful participation to grasp the nature of the pulsations from where the drama originates.
(...) The stage full of objects and people, never fails in that internal order that is a theatrical canon necessary to maintain legible the heart of the action. Just this rigorous attention to the intelligibility of the work and the complex emotional geographies of the protagonists calls, finally, to a reflection on modernity of "I Pagliacci."
The theatrical vitality , estrangement representative, the regression of the point of view of the narrator than the story , enhanced by the direction of Leo Muscato , stimulate , therefore , new critical interests towards confirming twentieth-century modernity of this work even after more than a century since it first appeared .