Like his hero, Carmen it’s a nomadic and changeable work, able to evoking a fluid and dynamic vary of meanings. The story of the illegitimate love between a Gypsy and a Basque brigadier is definitely very nineteenth-century and really French, though it considerations the Gypsies and Spain. It’s true that, primarily based solely on a part of the Merimée story, Bizet’s librettists rework Carmen into an emancipated girl, capable of take management of her future in a manner that was then thought-about acceptable solely to males. It’s this spirit of independence and freedom that can conquer society, but additionally eminent exegetes similar to Nietzsche. The context for the creation of the opera model, nonetheless, is Nineteenth-century France, the place the will for feminine independence continues to be thought-about one thing diabolical and stored in test. It’s no coincidence that Don José repeatedly asks Carmen: “Tu es le diable?” and replies with sturdy irony: “Oui.” Briefly, relying on the historic and cultural context, Carmen is now seen as diabolical mortal girl, now as an emancipated girl, generally each methods. It’s this double, stereotypical identification that has contributed to the historical past of its ubiquity and power, and thus the power to outlive interpretive modifications and varied variations concerning hidden problems with gender, ethnicity and racism.
Behind Franco Zeffirelli, a wonderful defender and guardian of the Italian scene and directing traditions, Carmen might solely be a mortal girl, endowed with a devilish attraction, able to making a person lose management over himself and all respect for his personal social place. A vampire, possibly even slightly vampire, who leads a person to extermination and has to pay for it together with his life: the abrupt ending the truth is means the normalization of the parable of Carmen, which from a transgressive determine (in accordance with the thinker Katarzyna Clément, , all the time on the fringes of life “) can thus result in martyrdom. Even within the well-known surroundings made forEnviornment of VeronaModified a number of occasions over time and re-proposed in an up to date model for the inaugurationEnviornment Opera Competition 2022Zeffirelli’s Carmen is offered as a swaying and predatory Gypsy girl, an aggressive and contemptuous girl, sensual or a matron relying on the interpreters of the second.
This old style, nineteenth-century, however nonetheless justified imaginative and prescient is accompanied, within the unique manufacturing signed in 1995, by a standard directorial idea by which the set design is an extension of the characters’ moods, and Spain is to be a spot of picturesque, however above all a spot of ardour and intuition, primal conflicts: love / hatred, masculine / female, freedom / bonds. The style of the painted and utterly full scene prevails: Zeffirelli virtually stuffs your entire accessible floor, recreating the colourful Seville meter by meter, but additionally the views of the mountains mendacity on the steps within the “cinema”. An efficient model, marked with sketchy realism with consideration to the smallest particulars. The result’s a storm of red-hot colours and folklore notations: undoubtedly a nice present of its sort, appreciated for the smoothness of the swirling mass actions and the dramatic focus of the characters within the recreation.
In 2009, with a reasonably drastic stage intervention, Zeffirelli, nearly preying on a delayed want for minimalism, swept all real-size huts and buildings from the stands to offer approach to a play of lights and projections. The stage is marked by a sequence of tall masts, which within the second and fourth acts are supported by posters from the period with photos of bullfighters and bullfighters. carmentite. Within the third act, the painted curtains present the silhouettes of the mountains. Though the impact is much less oleographic, the presence of enormous plenty and the distribution of dances in each nook of the stage, in addition to flashy costumes Anna Lataare greater than sufficient to fulfill the sector viewers’s thirst for a spectacle.
The model that’s at present on stage till August 27 and introduced as “ultimate” by the Enviornment Basis is in follow a mixture of the 1995 and 2009 editions. That’s the reason we see Seville reconstructed in full measurement within the stands, identical to within the unique efficiency, but additionally posters and different set design components of the following model. There’s additionally no scarcity of unpublished stage components, taken from the unique sketches and by no means carried out earlier than, similar to the 2 curtains that encompass the proscenium on the high. The result’s an over-accumulation that causes scenes to be crammed to the restrict at occasions (whereas Zeffirelli himself in his restyling he normally labored by subtraction) and in a really busy, generally chaotic director’s setting. Within the third act, the moon halo disappears, a bit sleepy and ghastly, undoubtedly a suggestion that the good Florentine director and set designer might evoke.
On this hypertraditional context, directorial good for the performer of his debut in ’95 (Denyce Graves: wild, nuanced in singing, seductive in dance, very sensual), Clementine Margaine is slightly confused. His Carmen is extra interested by analytical phrasing and the number of accents, in addition to the nuances of singing strains (a few of that are misplaced within the enviornment) reasonably than in tonal means and theatrical presence. Briefly, the French mezzo-soprano tends to painting a “fashionable” determine, reasonably psychological than sensual, who might definitely look higher in a extra up to date setting.
You want tonal peculiarities reasonably than temperaments, even Don José from Brian Jagde she is a grasp of ardour and sensuality. The American tenor, nonetheless, has a well-defined vocality, appropriate phonation, and due to its sharp accent and scathing phrasing, it’s definitely efficient in dramatic singing. In a lyrical-love utterance, nonetheless, it’s extra basic and doesn’t have a really big selection of colours and shades.
Absolutely in keeping with the idea of Zeffirelli’s program is Micaela di Karen Gardeazabalwhich sketches an odd lady straight from the vestry, candy and devoted: the proper emission, nice timbre and expression are definitely purposeful for the character saturated with lyricism. Scenically free, brave and communicative, Escamillo z Luca Michelettiwho can be valued for his polished voice, insightful phrasing and a spotlight to phrases.
Among the many sides, it stands out Biagio Pizzuti, which in a particular manner relieves the position of Morales due to the well-imprinted voice and correct expression. Well timed contributions Gabriele SagonZuniga, Carlo Bosicorrected and Nicolò Ceriani, Dancair. The extra opaque the proof Daniel Cappiello, Frasquita; purposeful Sofia Koberidze like Mercedes. Choir contribution ready by: Ulysses Trabachin; fascinating choreographies kamborio taking pictures with Lucia Actual and entrusted to the Enviornment Basis Ballet Corps and wonderful dancers The corporate Antonio Gades.
From the rostrum Marco Armiliato It’s distinguished by skilled, considerate conduct, with out excesses and streaks, in good concord with each the singers and the choir. We aren’t coping with an unique interpretation, we aren’t interested by deepening the a number of, contrasting climates of the work. However, Armiliato directs the weather of the setting with the proper mild, discovering colours that are actually twilight and now shiny, and introduces the proper dramatic temper to moments by which the destiny of the heroes full, reflecting the tragedy Carmen dry proportions.
Christmas greetings from the viewers who crammed the Enviornment, which is lastly again to full working order. He recites it, because the superintendent reminded Cecylia Gasdia on the opening of the night it was devoted Renata Tebaldi Ed Ettore Bastianiniwhose a centesimal birthday is well known this 12 months.
Enviornment Opera Competition 2022
Opéra-comique in 4 acts.
Brochure z Henri Meilhac to me Ludovic Halévy
from the novel by Prosper Mérimée with the identical title
Music made by Georges Bizet
Carmen Clementine Margaine
Micaela Karen Gardeazabal
Frasquita Daniel Cappiello
Mercedes Sofia Koberidze
Mr. Jose Brian Jadge
escamillo Luca Micheletti
Dancair Nicolò Ceriani
Patched Carlo Bosi
Zuniga Gabriele Sagon
Morality Biagio Pizzuti
Orchestra, choir, corps de ballet and Verona Enviornment technicians
Director Marco Armliato
choir grasp Ulysses Trabachin
Kids’s choir A.LI.VE. directed by Paolo Facincani
Route and units Franco Zeffirelli
Costumes Anna Lata
Luci Paolo Mazzon
Choreography kamborio originate from Lucia Actual
Ball coordinator Gaetano Petrosino
With an incredible participation
The corporate Antonio Gades
Artwork director Stella Arauzo
Verona, June 17, 2022