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There is a subtle continuity, occasional or not, between the last show seen in Teatro dell & # 39; Opera di Roma a few days before the summer holidays, and the first opening of the season 2018 at the Baths of Caracalla : as La Bohème according to Alex Ollè has forgotten Paris to move a contemporary metropolitan suburb, also La Traviata by Verdi in the new exhibition designed by Lorenzo Mariani for the breathtaking scenery of Term, abandons the French capital of the late nineteenth century to settle in Rome fellinina 50s, in the middle of the dolce vita
On stage July 3 (21 hours, for 9 performances until July 20), The Traviata according to Mariani officially inaugurated the opera season at the Baths of Caracalla after the silver of Extra (luxury), by Paolo Conte to Ennio Morricone, and perfectly reflects the new "policy" inaugurated a few years ago part in the summer program of the theater
" The new exhibition that opens the opera season of 39; summer reflects the specific characters that they sought for the spaces of Caracalla – explains the superintendent of the Capitoline Theater, Carlo Fuortes – We aim the quality to productions, to popularity to also historical for the public of a place that claims a kind of equivalent in the Arena of Verona, but also the pleasure that of finding oneself in a magical place and breathing the atmosphere phere ".
Quality, popularity and pleasure are therefore the cornerstones of a program that can not ignore the wide open spaces I of Caracalla (with its 4000 seats) that attract not only the Romans, but also many tourists .
And if creating a show for the spaces of Caracalla is still very difficult and stimulating, the director " solved everything in a very brilliant way by moving the action in the Rome of D olce The life of the 50s " anticipates the Superintendent.
In short it will be Traviata totally diff Traviata records of Sofia Coppola-Valentino, now entering the repertoire. del Costanzi from 2015 and resumed each season with huge success: the idea of transferring Verdi's opera in Fellini's Rome, strongly entering the collective imagination, comes from the consciousness of Mariani that history repeats itself and that Paris of the late nineteenth century and Rome of the fifties are two equally ferocious and ruthless societies
" La Traviata is one of the stories the most cruel and violent from which one can learn a lot – the director begins by explaining the genesis of his staging – Violetta struggles to live a full and free life, but it is a lost battle. I left the sources and re-read Dumas, perceived almost unbearable emotions in a world so desperate, and I thought about how I could paint this hopeless world . "
Spring, once again, is triggering thanks to the cinema which exerts an unequivocal charm and not indifferent on all the work of Mariani. 19659009] " I remembered a sentence from the 8 and a half film of Fellini that refers to Dolce Vita: the doctor asks the director in crisis Mastroianni, the alter ego of Federico, if the film in preparation is another "film without hope" referring to the Dolce Vita ", explains the director, explaining that the same commentary on the sad Dolce vita was also addressed to Fellini by the producer Angelo Rizzoli. ] "Despite the appearances – continues the director – the Dolce Vita is a ruthless portrait of Rome and Italy of the fifties exactly as it is the Paris of the end of the nineteenth century who devours the and the people to destroy them and it is the story of the victim of a cynical and false society.A atrocious portrait disguised through the feast to [19659013] and the frenzy of society "
The risk of trivializing such a popular work is very high, but Mariani also emphasized the quality of the music at Master's wand Yves Abel at the third podium at the Baths of Caracalla after the double Madame Butterfly of the Fura dels Baus (2015 and 2016) and the Barber directed by Mariani
" I am happy to work with an orchestra that knows Verdi very well" says the director explaining how from a musical point of view he " tried to emphasize the contrast between public scenes full of madness and madness and intimate and personal intimate scenes of completely different cut ".
A casting is indispensable here, double for the nine representations of the program, at the height of the situation, n only from a vocal point of view, but also interpretative to meet " two young people who live – explains Mariani – an unexpected overwhelming pbadion ".
dual distribution that sees the presence of Kristina Mkhitaryan alternating with Valentina Varriale (July 4, 6 and 8), increasingly present in Costanzi after work at " Fabbrica "Young Artist Program of the Teatro dell & # 39; Opera di Roma
In the role of Alfredo Germont alternately Alessandro Scotto di Luzio and Giulio Pelligra ( 4, 6, 8, 17 and 20 July), in the role of Germont Fabián Veloz and Marcello Rosiello (4, 6 and 8 July), Roberto Accurso ] is Baron Douphol, Graziano Dallavalle Dr. Grenvil, while Irida Dragoti, Flora Bervoix, Rafaela Albuquerque, Annina and Murat Can Güvem, Gastone, come from the project "Fabbrica". On stage the Chorus of the Teatro dell & # 39; Opera di Roma directed by Maestro Roberto Gabbiani
" At the time of the establishment of the work – continues Mariani – we are confronted with the mission impossible to marry the show with monuments.It is impossible to compete with them because they have already lost in the beginning.And if in the B arbiere we tried to keep them in the background of the postcard, in the Traviata we tried to integrate them by incorporating them into the projections in the history of the protagonists "to even conjugate in the scenes (by Alessandro Camera)" empathy for the story of Violetta in a society to ruthless and hopeless with the intention of doing something "and not to mention the spectacle also ensured by the first act located in the Via Veneto with a lot of paparazzi and with all the 39, elegance and refinement of Rome in the 50s in the costumes of Silvia Aymonino who cite the glamor and luxury of the Fontana sisters.
" There are many theaters that give up production in this period for economic reasons.The Rome Opera is in complete contradiction and becomes a point of reference in the cultural field as ] had courage in recent years and was decorated – observes Mariani – in culture the more one stops, the more the others surpbad us ".
And the hope is to find the involvement of all the public
" I hope that the public amuses itself, but most of all, is moved You just have to check in. Seeing is believing
After the premiere of Tuesday, July 3 which opens the season Verdi's Traviata will also be repeated on Wednesday 4 , Thursday 5, Friday 6, Saturday 7, Sunday 8, Friday 13, Sunday 15, Friday, July 20. Info and tickets on operaroma.it.
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