Is It Dangerous To Masterbate With A Shower Head

The first absolute time of the SALOME Petruzzelli of Bari, including whistles (for Sgarbi) and cheers (the cast) Here

The "first Once "the Salomé (to use the French reference with the inspired play by Oscar Wilde) by Richard Strauss in Bari Teatro Petruzzelli was greeted by applause more than convincing for the remarkable level of musical performance indeed, and a few whistles trip and "buuu" from the gallery for challenging the impromptu found by Vittorio Sgarbi, here as a director. But first things first. At a press conference in Rome a few days ago announced Sgarbi (on its way) funny parallel between the biblical story and the news today ("The triangle-Herod Herodias-Salome, which fleshes out the story, nothing more than what is filling ink For months the newspapers of the world: Berlusconi-Minetti-Ruby "), then reiterated in the foyer on Saturday morning in a meeting with journalists in the local press, decided only a few hours before. As a promotional and there was only provocative in that it is understood sgarbista output then the showdown of a show whose rehearsal, usually open to schools, instead was forbidden even to television operators. Create agonizing wait for such an event is known to be the salt of the show. Sgarbi, the most frequent visitor to television lounges theaters, this technique knows all too well exploited in a masterly way and broke it. Were in fact numerous requests for tickets for the three performances at the Petruzzelli. Furthermore, when the first performance of "Salome" was given all'Hofoper of Dresden in 1905 it caused deep irritation and shocked reactions of the public in the critical period and subject to the sadistic and perverse, as well as the violent eroticism and unhealthy sensuality evoked by the music of Strauss and dall'esplosivo the play Wilde wrote in French and transcribed verbatim in the German translation by Hedwig Lachmann librettist. The spectacle of Bari, it must be said, in the form semiscenica: that uses specially treated to projections by the celebrated set designer Ezio Frigerio based on photographs taken by the Listri Villa Sammezzano, built in neo-Moorish style in the early twentieth century near Florence. The idea is good to save on the cost of a real scene, but then should make a director who knows how to properly fill the space and make the characters move in a manner consistent with the reference text. It is here that Sgarbi disappoint, because its director is a static narrative that lives only a few thrills than a story known to overflowing and sculpted by music of extraordinary modernity which is that Straussian. The seduction scene with what should be a duet from "hot spirits" between Salomé and Jochanaan (John the Baptist) is revived in a rather detached and conventional, with erotic would say insignificant. The moment of the dance of seven veils with the canon of the final strip princess is also vilified by his natural sensuality: Salome does not dance, or strips, but they do so in its place a fortnight scollacciate dancers, choreographed by making use of valuable Isa Traversi. The twists at the end, they are basically just two: the presence illuminated by a bull's-eye of a judge-a woman in a proscenium stage (it is the "dreaded" Boccassini?) And the two heads on separate trays of 'Silver, one of the Baptist, the other of the same Sgarbi, but that appears only in the final work to seal the signing self to a show that, indeed, puzzling, provocative, and political manipulation in part, on its theatrical effectiveness, although he had costumes designed with the usual outstanding professionalism from the likes of Oscar Franca Squarciapino. Definitely the better way, in our opinion, the musical performance with a great experience as a manager Ralf Weikert, who oversaw the work difficult for an orchestra like the Petruzzelli, composed mainly of young and talented musicians in their Strauss first. Passed another examination, therefore, also in view of the American trip in Washington on 17 March. Accurate, as we said at the beginning, especially the vocal cast, scenically penalized by the director, who saw, in particular, stand out the beautiful marble Korean interpretation of Samuel Youn (Jochanaan), valid evidence of good Swedish Erika Sunnegardh (Salome) and Katja Lytting (Herodias), as excellent stature was the Herod Scott Macallister, recently applauded in Bari in Siegfried Wagner's tetralogy, which will be completed in October with "The Twilight of the Gods", always Petruzzelli.