Author: Chiara Pari

25 Jun Dido and Aeneas

Posted at 10:48h in Opera

Time awakens, fate unfolds, and tragedy dances within the realm of dreams #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 Directorial Notes DIDO AND AENEAS AMONG THE MATTER OF DREAMS. Interview with ChiaraMuti by Leonetta BentivoglioChiara Muti is an intelligent and sensitive actress who, throughout a career rich in successes, has always made interesting choices both in theater and cinema, pursuing unpredictable roles, adventurous paths, and experiments that have highlighted her multidisciplinary talent and her marked musicality. Her operatic directing debut dates back to last year, with the staging at the Ravenna Festival of a challenging and deeply feminine work like Hindemith’s Sancta Susanna. Chiara Muti approached it with a rigorous sense of music, a thorough work with the performers, and an inventive and poetic interpretation. Now she returns to directing to stage the seventeenth-century opera Dido and Aeneas by the English composer Henry Purcell, in the impressive setting of the Baths of Caracalla. “An open-air performance terrifies every director,” she confesses, “because it places you in a situation where you cannot fully control the clarity of the lighting. On the other hand, the space of the Palestra Orientale of Caracalla is extraordinarily evocative: you breathe History with a capital H there...

24 Jun Così fan tutte

Posted at 11:00h in Opera

Così fan tutte is the Dramma giocoso of Disenchantment...

23 Jun Amorosa presenza

Posted at 11:21h in Opera

Amorosa presenza is an ancient story, always relevant, the story of all of us… the story of love #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 F. Parenzan Pictures by F. Parenzan Directors’ Notes Amorosa presenza is an ancient story, always relevant, the story of all of us… the story of love. On stage, at the center, a tree marks the passing of the seasons with its branches: summer, autumn, winter, and spring… representing the passage of time and the seasons of our existence.Nature appears outwardly impassive, but this is a deception!Its heavy spirit supports us, like the roots of the earth support a trunk, and it influences our emotions through time and weather. Four funny bushes, like in a fairy tale, unexpected accomplices to madness, accompany our heroes in their delirious excesses: Serena and Horace, two young neighbors living in a city that, from afar, marks the rhythms of a frantic society where colors struggle to emerge and repetitive gestures betray the signs of ongoing conformity!Inside the house, two enigmatic figures, Guardian and Nanny, spirit guides cut from wallpaper, are the voice of conscience for what is to come—the mirror of passing time that inevitably shapes and dissolves.They are the voice of reason… which our young people are unwilling to hear! For them, the voice of love is fitting! Desire and dream cannot be reconciled with regret and disillusionment!Two generations face off! A clash of intentions and viewpoints.And so… Horace decides to disguise himself as a woman, Letizia, to overcome his shyness and freely praise himself to his beloved Serena, who, intrigued after their first meeting, decides to disguise herself as a man to approach the much-praised and now idealized Horace.And here the game becomes serious… ambiguous… as many characters in theater and opera throughout the centuries remind us, who have succumbed to the allure of the “ancient trick of disguise.”From deception, in love, truths always emerge!Thus, our young people find themselves in four, trapped in themselves, oscillating between their masculine and feminine sides… and end up longing for the friendship that guided them to conquer the other, and perhaps to recognize themselves as more true behind the masks, because that is how they discovered love by recognizing each other, because that is how they loved by loving themselves.And when, at last, they find themselves face to face for...

04 Mar L’Enfant oublié

Posted at 11:33h in Theater

03 Mar Due regine

Posted at 11:34h in Theater

02 Mar Lumina in tenebris

Posted at 11:37h in Theater

#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 Luca Concas Pictures by Luca Concas Credits Dramaturgical development, direction and performance — Elena Bucci and Chiara MutiProduction — Ravenna FestivalIn collaboration with the company Le belle bandiereDramaturgical research — Chiara MutiLighting design — Vincent LonguemareSound design and dramaturgy — Raffaele BassettiCostumes — Manuela MontiStage management — Giovanni Macis Director’s Notes What magic makes Dante’s work feel so present and alive? The power of poetry? And what is poetry? Like light and intangible sound, it travels swiftly, following unpredictable paths, moving through time and history, resisting all censorship, exile, dictatorship, blindness. It bounces between different voices, each one a master to the other. From antiquity to the present, it faces the unanswerable questions that make us sisters and brothers: who are we, where are we going, where do we come from?Where is born the visionary gift of poets, able to express everything we long for but cannot name? The search for knowledge passes through losing oneself in order to find oneself again, transformed. Poetic words shine in the darkness of bewilderment, lumina in tenebris, when one finds oneself "in a dark wood where the straight way was lost" and the only option is to undertake the journey that leads from hell to light.Dante did not lose his way, also because he was guided by the poets who came before him — just as he, in turn, has nourished those who followed. Perhaps our lost planet, too, is in need of poetry to find healing and courage.In this year dedicated to Dante, we sought the words of those who were his teachers and those who have looked to him as a guide for inspiration. Beginning with the Bible, we pass through the archetypal journey of Aeneas imagined by his master Virgil, to Boethius imprisoned and consoled by Philosophy, to Milton recounting the loss of Paradise, to Primo Levi clinging to the memory of Dante’s Ulysses in the concentration camp. From Pasolini’s unfinished Divina Mimesis, which grapples with the fears and doubts of the Commedia’s first canto, to Pascal’s existential questions, from Byron’s verses of love, to Balzac’s otherworldly visions, from Rilke’s retelling of Eurydice’s loss to the apparitions of the feminine spirit embodied by Beatrice, who creates and regenerates.Together, we place ourselves in service to this immense force, imagining a contemporary journey, enchanted...

01 Mar Folia Shakespeariana

Posted at 11:40h in Theater

#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 Concept and Performance: Elena Bucci, Chiara MutiLighting Design: Loredana OddoneSound Dramaturgy: Raffaele BassettiCostumes: NomadeaTexts drawn from: Macbeth, Romeo and Juliet, Measure forMeasure, Hamlet, Love’s Labour’s Lost, Othello, King Lear, A Midsummer Night’sDream, The Tempest, Sonnets LXXXI and XCVI. Director’s Notes Folia is a concert of voices, words, and sounds.Its time is the night, and its nature is the dream.Its shape is the circle of the Globe Theatre’s floor plan,echoing that of Theodoric’s Mausoleum —places where the living and the dead meet.Our somewhat forgetful communities often need to create constellations of recurring events which, like lights in the dark, help guide thought and orientation.Four hundred years after his death, we too light a small candle in homage to the mystery of Shakespeare — whether one imagines a single man or the pseudonym of many.What is certain is that under his name exist works that, to this day, provoke shifting emotions and transformations.We attempt to enter the intranatural world suspended between reality and dream, life and death, philosophy and magic — a world conjured by the witches of Macbeth. The silent park surrounding Theodoric becomes their realm, the place where they summon the shadows of major and minor characters escaped from the Master’s plays.Just as in the Elizabethan era actors found themselves playing female characters on stages forbidden to women, so today two women move freely between male and female roles in a space liberated from gender restrictions — where choices are guided not by the plotlines of stories, but by the intuition of poetic nuclei.Immersed in a park where the sounds of the city arrive only faintly, we imagine a space where reality and mystery intertwine, breathing new life into magical words that survive time, translation, and every betrayal.Elena Bucci and Chiara Muti...

28 Feb Antigone di Sofocle

Posted at 11:43h in Theater

#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 Text by Bertolt BrechtDirected by Federico TiezziTranslation by Cesare MazzonisProduction by Compagnia Lombardi-TiezziEmilia Romagna Teatro FondazioneTeatro Metastasio Stabile della ToscanaCharacters and CastAntigone: Chiara MutiIsmene: Debora ZuinCreonte: Sandro LombardiEmone: Alessandro SchiavoTiresia: Giampiero CicciòGuardiano: Massimiliano SpezianiChorusSilvio CastiglioniMarion D’AmburgoMassimo GrigòFabio MascagniLucia RagniSet Design by Francesco CalcagniniCostumes by Marion D’AmburgoLighting by Roberto InnocentiAssistant Director Giovanni ScandellaAssistant Costume Designer Marco BarattiVocal Coach Francesca Della MonicaProduction Manager Renzo CecchiniHead Stage Technician Lorenzo MartinelliHead Electrician Gianni PolliniSound Engineer Michele PercopoSeamstress Graziella SaldarelliStagehand Tobia GrassiElectrician Gabriele Mazzara BolognaAdministrator Francesca BettalliProduction Coordinator Annalisa RossiniSet Construction by Laboratorio Maurizio Morini, PesaroSound Design by Antonio LovatoRecorded Accordion by Massimo SignoriniPress Office Simona CarlucciPhotographers Andrea Fiesoli, Achille Le Pera, Fiorenzo Niccoli, Marcello NorberthOrganization Patrizia CuocoChiara Muti (Antigone)Debora Zuin (Ismene)Sandro Lombardi (Creonte)Alessandro Schiavo (Haemon)Giampiero Cicciò (Teiresias)Massimiliano Speziani (Guard)ChorusSilvio CastiglioniMarion D’AmburgoMassimo GrigòAnnibale PavoneClara GalanteDirected by Federico TiezziSet Design Francesco CalcagniniCostumes Marion D’AmburgoLighting Roberto InnocentiIn Italian with German surtitlesIn collaboration with the Italian Theatre Institute...

12 Dec Salomé

Posted at 18:12h in Theater

12 Dec Ridono i sassi ancor della città

Posted at 18:12h in Theater