Author: Chiara Pari

21 Jul

Posted at 13:35h in Cinema

Beethoven as a pretext to rediscover excellence and open up new horizons of knowledge #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Chiara Muti - Actress in the movie "Musikanten" Note di regia Artisti Chiara Muti - actrice - auteure - conception et mise en scène David Fray - piano Vincent Longuemare -concepteur éclairage Raffaele Bassetti - concepteur sonore Nima Ghashghaei - concepteur vidéo Virginie Reisz consultante littéraire et linguistique Valerie Drouot coach de Français 4/7/ 2023 https://www.youtube.com/watch?v=yDaRcmfiJWQ&ab_channel=AlternativeGroup “…Pour ses débuts dans la mise en scène lirique, Chiara Muti, fille ainée du maestro, atteint d’emblée les sommets. La triade jugement-liberté-pardon constitue la clé de son travail: impossibilité pour Susanna de réprimer sa propre nature; besoin du pardon que la nonne implore, admettant sa faiblesse.Toute la production… transpire et respire le théâtre, avec un petit quelque chose de cinématographique parfois (le regard terrifié, fixé sur nous spectateurs, de deux jeunes soeurs agenouillées.)… Hystérie, mysticisme, érotisme s’entremêlent dans Sancta Susanna, comme rarement dans l’histoire de l’opéra. Ici, le spectateur est saisi d’une horreur voluptueuse qui ne le lâche plus, jusqu’à l’anthologique image finale, avec les soeurs criant “Satana!” d’un coté et Susanna s’immobilisant, comme baignée par la lumière de la rédemption. Une très, très grande soirée…” Sergio Albertini OPERA MAGAZINE, 10 Luglio 2012 “…La regia di Chiara Muti esemplare di esattezza e di eleganza…” Mario Bortolotto IL FOGLIO, 19 Luglio 2012 “… una definizione di sicura impronta visuale nel suggestivo gioco chiaroscurale di evidente rimando pittorico, coerente con l’intendimento registico di rivedere la vicenda dall’interno, sul versante dell’inconscio anziché farne pretesto di un inutile scandalismo…” Gianpaolo Minardi CLASSIC VOICE, 9 Luglio 2012 “…il perfetto spettacolo di Chiara Muti evita ogni approssimazione alle lussurie conventuali e volgari…” Alberto Arbasino IL Corriere della sera, 27 Luglio 2012 “…è musicalissimo, e teatralmente molto meditato, il debutto nella regia di Chiara Muti… segue il senso e le accensioni di Hindemith con un’azione dominata da luci stagliatissime, quasi cinematografiche, e plasmando i personaggi con un piglio più “attoriale” che melodrammatico… Bella l’intuizione conclusiva: il grido di “Satana!”, lanciato dalle suore a Susanna , finisce per colpire come un boomerang, ritorcendosi contro di loro, mentre la nostra eroina trova la luce della redenzione.” Leonetta Bentivoglio La Repubblica, 7 Luglio 2012 “…l’allestimento riassume il senso non blasfemo bensì vitale dell’argomento fa apparire come dal nulla, in un fiotto di luce mattutina, il cespo di lillà che accoglie il...

04 Jul

Posted at 12:00h in Opera

Only a few are given the weight of carrying the fate of the world #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Foto Zani Casadio Solo a pochi è dato il peso di sostenere il destino del mondo Foto Zani Casadio Director’s Notes "What could there be in that 'Caesar'? Why should his name resonate more than yours?" Shakespeare.What makes a man immortal? The greatness of his destiny.Giulio Cesare has entered legend, and yet he was a man like any other...

03 Jul

Posted at 12:00h in Opera

The Triumph of Light Over Darkness Of Virtue Over Vice #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Foto Silvia Lelli Foto Silvia Lelli Directorial Notes At the beginning, everything is darkness. A labyrinth of walls rises all around, suffocating the horizon. Squared, aseptic buildings sketch a city inspired by the visionary Metropolis by Fritz Lang, the 1927 cult film that prophetically depicts the annihilation of society and humanity, automated and enslaved to profit. Man has imprisoned himself by erecting walls of screens that blind the sun. Once the mist has dissipated, we find ourselves facing a multitude of prostrate beings, their gaze submissive, their eyes fixed and blinded by cold, distorted lights of a chimera, imprisoned by the reflection of an image that, like Narcissus’s smile, leads to the suffocating abyss of a hypnotic limbo where numbers are worth more than content. Walking automatons in a nonsensical and illegible flow of time. Guinea pigs searching for fleeting rewards, virtually chained, their judgment formatted to the tyranny of a single, dominating thought. Memories are lost, the past has nothing left to teach, we pass down nothing but the present moment, relegating ourselves to oblivion in the passing of time. Immersed in mist, the memories of who we were lie on the ground, dusted over, eroded by forgetfulness, ready to be recycled: fairy tale books, childhood stories, dolls, kites, ships...

01 Jul

Posted at 12:00h in Opera

The plot of a seventeenth-century tale meets the gaze of the nineteenth century dressed in its music #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Pictures by Silvia Lelli Pictures by Silvia Lelli Credits Opera seria in three actsLibretto by Carlo PepoliMusic by Vincenzo Bellini(Ricordi critical edition edited by Fabrizio Della Seta)Characters and performersElvira Valton Caterina SalaLord Arturo Talbo Dmitry KorchakSir Riccardo Forth Christian FedericiSir Giorgio Valton Dario RussoLord Gualtiero Valton Andrea TabiliSir Bruno Robertson Marco PuggioniEnrichetta di Francia Laura Verrecchiaconductor Fabrizio Maria Carminaticonductor Chiara MutiChoirmaster Luigi PetrozzielloSets Alessandro CameraCostumes Tommaso LagattollaLight designer Vincent LonguemareStage director Arcangelo MazzaAssistant stage manager Michela MantegazzaAssistant director Paolo VettoriCostumes assistant Donato Di DonnaOrchestra, Chorus and Technicians of the Teatro Massimo BelliniNew production of the Teatro Massimo Bellini Directorial notes Listening to the notes of Il Cigno’s music, one is enveloped by a sense of classical sweetness and a celestial, nineteenth-century melancholy. Bellini takes us by the hand and leads us into sensual, dreamlike, and moonlit atmospheres: an aura of magic permeates us. The crystalline beauty of his melodies echoes the myths of Magna Graecia and the love laments of nymphs, whispering to us of who we once were, offering a sense of belonging that consoles and fulfills us.There is little trace here of English mists, stiff collars, or seventeenth-century Puritan intransigence in these harmonies so blissfully Italian. What have Cromwell and his cohorts—the censors of pleasure, the proponents of Presbyterianism, Baptism, and Congregationalism—to do with our Bellini, so sensual and proud, tender and impassioned? I Puritanipremiered on January 24, 1835, at the Théâtre de la Comédie- Italienne in Paris. It was an immense success! And certainly not for the libretto by Carlo Pepoli, inspired by the historical drama Têtes Rondes et Cavaliers by Ancelot and Boniface. No! Bellini was not interested in telling us a story of history, nor of the English Revolution and the fall of Charles I Stuart.For the Catanese composer, the heart of the drama is the aching, vibrant, lacerating force of love—and it is always his women who tell us this story: Bianca, Imogene, Alaide, Zaira, Giulietta, Norma, Amina, Beatrice, and lastly Elvira—like them, expressive, emotional, tormented, and eternally alive for love, which remains the true starting point.How to reconcile Puritanism and Romanticism? I imagined, then, a dreamlike space, suspended in time—perhaps the remnants of a museum awaiting a story to be told. As...

30 Jun

Posted at 19:10h in Opera

Imprisoned between land and sea… on the edge of nothingness… awaiting the moment when the illusion fades and the blood begins to flow #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Pictures by Silvia Lelli, Michele Monasta Pictures by Silvia Lelli, Michele Monasta Madama Butterfly - G. PucciniConductor Francesco Ivan CiampaDirector Chiara MutiSet Design Leila FteitaCostumes Alessandro LaiLighting Vincent LonguemareTeatro del Maggio Musicale Fiorentino November 12, 15, 22, 26, 28 – December 1, 2021 Director’s Notes The Drama of Waiting…Imprisoned between land and sea… an exile… on the edge of nothingness… immersed in a dreamlike landscape of lights and pale colors from an enchanted, impalpable Japan… waiting for the illusion to shatter and for the blood to flow.It takes but a few elements to outline a house that, in truth, does not exist — and never will.Between inside and outside, there is no boundary.The wedding nest is a melancholy mirage. Faint walls of white filigree, as fragile as Japanese paper, open and close, defining a non-space. Noren gently descend from above onto a tatami laid upon the ground, like an island adrift on the shore of the sea.Everything appears as though it belonged to a dreamed, imagined, enchanted place.At first, Butterfly bears the vivid hues of the Morpho butterfly, whose wings, though colorless, through optical effect reflect the light, breaking it into an effervescence of intense, iridescent blues… but alas, once the light is lost, so too is the color… scattered here and there in layers of garments that, like pieces of shed skin, lie inert upon the ground… like shattered butterfly wings.And so, this figure—once a bright screen, now without light or color—moves forward toward her grim fate, the one to which she has always been destined, as reminded by the shadow of her father who, like a warning, appears in the fleeting opening scene… but only for a moment… before vanishing into the sea, like a memory sinking into the depths of a subconscious no longer willing to be disturbed.In a dreamlike world, where Japan is evoked but never narrated, the only recognizable traditional symbol is the array of masks held aloft by relatives chanting “We disown you!” — rising against the sky, a reminder of the harsh codes of a society often devoid of human empathy for those who break its values. Even the mother, eternally veiled in mourning black...

29 Jun

Posted at 19:19h in Opera

A great and desperate dream of love, drifting through the sands of the desert #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Pictures by Silvia Lelli Pictures by Silvia Lelli Credits Teatro dell’Opera di RomaTeatro CostanziLyric drama in four actsLibretto by Domenico Oliva, Giulio Ricordi, Luigi Illiaca e Marco Praga TateBased on the novel by PrévostMusic by Giacomo PucciniConductor Riccardo MutiStage Director Chiara MutiManon Lescaut Anna Netrebko, Serena FarnocchiaLescaut Giorgio Caoduro, Francesco LandolfiChevalier Renato Des Grieux Yusif EyvazovGeronte de Ravoir Carlo Lepore§Edmondo Alessandro LiberatoreThe Innkeeper Stefano MeoA Musician Roxana ConstantinescuThe Dancing Master Andrea GiovanniniThe Lamplighter Giorgio TruccoSergeant of the Archers Gianfranco MontresorNaval Commander Paolo BattagliaChorus Master Roberto GabbianiSet Design Carlo CentolavignaCostume Design Alessandro LaiLighting Design Vincent LonguemareOrchestra and Chorus of the Teatro dell’Opera di Roma Conversation with Chiara Muti by Leonetta Bentivoglio Perhaps one could define it as a great, desperate love dream floating amid the sands of the desert — the staging that Chiara Muti, now in her fourth operatic direction (following Sancta Susanna by Hindemith in Ravenna, Dido and Aeneas by Purcell at the Terme di Caracalla, and Orfeo ed Euridice by Gluck in Montpellier), dedicates to Puccini’s Manon Lescaut.Premiered in 1893 and inspired by an 18th-century novel by Abbé Prévost (The Story of the Chevalier Des Grieux and Manon Lescaut), this is the first opera in which Puccini fully develops the defining traits of one of his famous, impassioned, and tragic female characters, destined to final sacrifice onstage and to immense popularity with audiences worldwide. Here, the heroine’s fate concludes in the desolate outskirts of New Orleans, where Manon and her beloved Des Grieux pause, exhausted after fleeing the penitentiary.“Symbolically, that wasteland is also the desert of the soul, through which Manon aspires to freedom, and yet where she finds herself imprisoned,” explains Chiara Muti.“In seeking a kind of emancipation, Manon arrives at a place of abandonment, solitude, and disorientation, a place she has always inhabited within herself. And to a minuet’s rhythm, Manon breathes her last in the desert that has long accompanied her, steeped in the memories of her lover… ‘Oblivion shall sweep away my sins, but my love will never die.’ Oblivion swallows her small sins, but the great love she inspired renders her an eternal feminine ideal. She’s an unreachable woman — passionate, sensitive, cheerful, perhaps frivolous. But it is her tragic destiny that makes her a...

28 Jun

Posted at 19:36h in Opera

The revolution is underway! But Mozart goes further… he portrays us as we are, elevating the vices and virtues of human nature #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Pictures by Silvia Lelli Pictures by Silvia Lelli Credits THE MARRIAGE OF FIGARO by WOLFGANG AMADEUS MOZARTOr The Crazy DayTeatro Petruzzelli di BariLibretto by Lorenzo Da PonteBased on the comedy La folle journée ou le mariage de Figaro by Pierre-AugustinCaron de BeaumarchaisMusic by Wolfgang Amadeus MozartConductor: Matthew AucoinDirector: Chiara MutiSets: Ezio AntonelliCostumes: Alessandro LaiLighting design: Vincent LonguemareCostume assistant: Concetta NappiPremiere: Vienna, Burgtheater, May 1, 1786FigaroAlessandro LuongoCount AlmavivaEdwin Crossley-MercerCountess AlmavivaEleonora BurattoSusannaMaria MudryakCherubinoPaola GardinaMargherita RotondiMarcellinaLaura ChericiBartoloFabrizio BeggiBasilioBruno LazzarettiDon CurzioGiorgio TruccoBarbarinaAnne Marine SuireAntonio Matteo Peirone Directorial Notes COURT – understood as a place of public domain. There is no intimacy; the central platform is a metaphor for a stage of representation, at everyone’s mercy...

26 Jun

Posted at 10:41h in Opera

The nightmare of a denied grief transforms into a journey into the depths of the psyche #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Pictures by Silvia Lelli Pictures by Silvia Lelli ORFEO ED EURIDICE by CHRISTOPH WILLIBALD GLUCKOpéra Orchestre National MontpellierDramatic action for music Libretto by Ranieri de’ CalzabigiItalian version premiered on October 5, 1762, in ViennaMusical Director Balázs KocsárStage Director Chiara MutiOrfeoDelphine GalouEuridiceEleonora BurattoAmoreChristina GanshSet DesignEzio AntonelliCostumesAlessandro LaiLightingJohn TorresChoreographyMicha van HoeckeChorus MasterNoëlle GényContinuoYvon RepérantVocal CoachValérie BlanvillainAssistant Stage DirectorMarie LambertAssistant ChoreographerRaffaele SicignanoDancersNina Aby, Chloé Bioche, Clémence Camus, Lory Perez, Marion Fievet, NinaMarasovic, Jean Bahrel, Fabien Delcausse, Wasakar Coello Chavez, Collin Hill, Jérémy Pappalardo, Loïc QuenouChild ExtrasLili Charavel, Mathilde Scalzi (alternating)Anton JoncourTorao SuzukiProduction ManagerMireille Jouve, Xavier BouchonStage ManagerJérémy LairChorus ManagerChorus of the National OperaMontpellier Languedoc-RoussillonNational Orchestra MontpellierLanguedoc-RoussillonNew productionSeptember 24, 27, 29 – October 1, 2013 “…The Italian actress Chiara Muti… won over the audience at Montpellier’s Opéra Comédie on Tuesday evening with a remarkable Orfeo ed Euridice, brought to life by two talented singers, for her first stage direction in France…” “…An operatic season opener under the sign of absolute love at Montpellier’s Opéra Comédie…” ...