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"After 48 years back the famous diptych Cavalleria rusticana and Pagliacci Pavarotti in Modena" by Grigory Calcagno *

"An expected return to 48 years Saturday, February 12 at the Teatro Comunale" Luciano Pavarotti in Modena. It was in the 1963-1964 season that the works "Cavalleria Rusticana "by Mascagni and" Pagliacci "by Leoncavallo were not represented in the theater with Emilia. The diptych was produced by the Fondazione Teatro della Città di Livorno" C. Goldoni "of which are part of the Orchestra and Chorus. The two masterpieces of their respective composers, typically realist, tell two stories set in Southern Italy. The first, taken from the famous novel by Giovanni Verga, a typically Sicilian atmosphere requires that a director can not always enough to recreate. This is, in my opinion, the greatest difficulty in this regard directed. As for the second work, the action takes place in a village in Calabria and is taken from a shocking event actually occurred. Leoncavallo's father was a judge and took part in the process relating to the heinous indeed true story happened in previous years. Now we come to the evening of Modena. The room starts to fill. Do you see new faces, not usual to come first, traditionally inhabited by a public nell'applauso cold and stubborn, but very expert in music. Perhaps the curiosity to listen again, after almost half a century, two such 'famous masterpieces have pushed the neo-listeners to go to the theater. Good thing, in my view, given the time. Lights out, the buzz stops enter the Orchestra followed by the master JONATHAN WEBB. We listen, then a message from the theater. It 's a message of protest against government cuts to culture and a warning about the inevitable impact on next season. Excellent idea that is rightly acclaimed as expected. The following is a message recorded by the famous conductor Maurizio Costanzo who performs an analysis of the female characters of the two works connected with the events of today that we know well and for which women are fighting. An intervention did well but that seems inconsistent with the context of a night at the opera. In fact, following signs of disapproval (and whistles "buuu") in my opinion deserved. Start the show. Very good execution of the Orchestra della Toscana Webb led by running in a refined manner and on time interval of the Cavalry. The choir was also positive, which can 'has a strong safety in the song. Discrete the voices in the voice, the better the interpretation stage. Good interpretation of Santuzza Raffaella Angeletti which is been even better as Nedda in Pagliacci. We note, however, some uncertainty in his voice in the show off the treble and a slight tremor in the tone. The content, Mickael Spadaccini, vocal power and shows a considerable volume of voice and good stage presence, especially the very young age. The "Put on the costume" from Pagliacci is not for those to remember, while much of the initial success of the air cavalry, sung in a relaxed and safe. Fair evidence of Kamelia Kader (Lucia), so 'as to Anooshah Golesorkhi (Alfio) and Tonio (except the venial stick in the prologue of the second work). Great voice by Alexander in Silvio Luongo and Ozge Kalelioglu in Lola. Discreet Peppe di Pelligra che sfoggia acuti di bella emissione, nonostante la sua voce sia poco potente e dal timbro non disprezzabile.
La regia di Alessio Pizzech è, a mio parere, la nota negativa dello spettacolo. In cavalleria è abbastanza suggestiva la scelta delle case diroccate ma totalmente errata la decisione di alcuni costumi, come quello di Lola che sembra (quasi) una escort con gonna stretta e vestitino rosa. Inoltre i carrettieri,comunque dei popolani, sono vestiti con raffinati papillon per la festa di Pasqua. Non mi sono piaciute alcune delle numerose proiezioni sullo sfondo, talvolta a mio parere kitch come altre scelte registiche. Meglio Pagliacci dove c'è l'atmosfera da circo “nomade” che risulta piacevole. Migliori anche le projections show ... well .. a low level that, in times of crisis, it can still pass. The Mary Stuart last November, still here in Modena, with the great soprano Mariella Devia, was quite another thing: a triumph of perfection. Applause at the end than what I expected. Only a weak challenge has been accepted at the standard term which seems not to have even made the case too. "(The states reviewed here took place at the" Pavarotti in Modena February 12, 2011). * I thank Grigory Calcagno, an aspiring critic Modena ... only 13 years, its first review! AR