THE ROLE OF THE DIRECTOR
Of Francesco Rapaccioni, 28/10/2014
Leo Muscato proves once again how to create a beautiful spectacle having only limited financial resources. The scene of Federica Parolini is only evoked, suggested so that nothing is what it seems and made with curtains that surround the stage and they isolate certain portions for the necessary intimacy of some situations: the room of the Duke (glitzy brocades) and those of Maddalena and Gilda (shrouds less valuable), but where a few well-chosen pieces of furniture allow you to set the action perfectly. The shrouds reveal and conceal, allowing to observe from outside the lives of others and demonstrating how the separation between public and private life is abysmal (the "mask" imprisons the man). The costumes of Silvia Aymonino moves forward the action, in the nineteenth and twentieth century, giving the story a greater significance for the highlighted subject mask – person (questionable that the Duke in the third act is dressed as a soldier). Fundamental to the success of the show are the lights by Alessandro Verazzi: visible headlights increase the sense of theatricality of the representation and the stage lights are perfect, able to transform the fabrics in the trees and clouds and create a unique play of light inside a darkness that swallows everything and everyone.
The director comes from prose and knows how you must move the singers, but most know and be able to teach the appropriate gestures and facial expressions: every gesture and every movement is intended to give evidence to the booklet with a deep sense of respect for the author and of great clarity for spectators, including foreigners. The movements of the actors and the choir are designed in every perfect detail and gestures increase the expressiveness of the singing.
(...) A beautiful and intelligent show, well played and sung will fortunately be resumed as early as next February (from 4 to 8 February for 5 performances) as usual in major opera houses in the world.
The Republic, 10/26/2014
RIGOLETTO AND COURT REALLY damn
By Guido Barbieri
The palace of the Duke is made of rags, curtains, wall fabric. A universe dark, gloomy, restless, where the "damned race" of courtiers is really vile and damned: a parable about the vices of power, an abstract fable on the decadence and decay.
At first impact it would seem that Rigoletto is a black, terrible, dirty opera and full of filth. But then, maybe that's true. (...)
It is a sight that must be seen and revised because it is pleasant, but it is also the evocation of beauty, so much that it cannot disagree with Dionysius the Areopagite, who wrote: The beauty is the principle of everything together with love towards its own beauty, and the beauty is the end of everything. Everything attracts towards this. Rigoletto.