Երեք նարնջի սերը

Director | Juraj Valčuha
Direction | Alessandro Talevi
Scenes | Justin Arienti
Morals | Manuel Pedretti

Il re di Coppe | Goran Juric
Il principe Tartaglia, suo figlio | Bogdan Volkov
Leandro, primo ministro | Fabio Capitanucci
La principessa Clarice, nipote del re | Julia Gertseva
Pantalone, cortigiano favorito del re | Leonardo Galeazzi
Truffaldino, menestrello di corte | François Piolino
Celio, mago e genio protettore del re | Roberto Abbondanza
La fata Morgana, maga e genio protettore di Leandro | Rosie Aldridge
Smeraldina, servitrice della fata Morgana | Marina Comparato
La maga Creonta, sotto le spoglie di una cuoca | Donald Thomson
Farfarello, diavolo | Carlo Andrea Masciadri
Linetta | Francesca Paola Geretto
Nicoletta | Chiara Tirotta
Ninetta, principesse delle melarance | Hasmik Torosyan
Un messaggero | Laurence Meikel
Il Maestro di cerimonie | Andrea Giovannini 

Orchestra e Coro del Teatro di San Carlo

Known as the “Chopin Cossack of the Generation of the Future”, Sergej Prokofiev had set out to conquer the stages of America with his skills as an aggressive and virtuous pianist. But if the skill of the performer easily won the public’s sympathy, his skills as a composer were not immediately favored by audiences from overseas, fearful of a possible “contagion” of the “anarchist-Bolshevik” subversion. It took the courage of the director of the Chicago opera, the Italian Cleofonte Campanini, to commission the young Prokof’ev a completely new work that combined the masks (and the parodies of the Commedia dell’Arte conceived by Gozzi) with the choices of avant-garde playwright and artist Vsevolod Mejerchol’d. With his mixture of fable, satire and comedy, L’amore delle tre melarance fully represents the theatrical orientation of Prokofiev addressed “against naturalism and the routine of the great followers of the pre-revolutionary theater”. The mockery and the caricature of the conventions of nineteenth-century melodrama are the figure that covers the work from top to bottom in an inexhaustible whirlwind of musical inventions in which the orchestra plays a fundamental role.

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