Emachines T6534 Recovery

The end of the season in Don Giovanni Rezza versacci

(from Judgement and )
sung the famous work Mozart in the chapel, with the noises and raspberries that children and imperturbable expression on her face. E 'de I found the last Sandbags , the company that tosconapoletana reported in the masterpieces of the lyric a bit 'of sound malice

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In an impeccable dark suit, a male figure, lean traits Dalí, welcomes the audience in silence, in the middle of a barren stage. Unique furniture, a screen on the bottom and, a few steps later, a double step of wood. erect, the man in dark suit carries with it a shoulder bag, in with tip until the public no longer takes place and the buzz preceding the regular theatrical performances. Blind. A voice off-stage, female and neutral, provides a synopsis of the thin Don Giovanni, citing situations and joints of Mozart's masterpiece (and Da Ponte): the words match the movement spread from the coffers dry, well-led human kind of stewart aircraft. The imperturbable expression, compared to the gestures and phrases in the background, generates laughter hours shy, now louder, now potentially explosive atmospheres: complete exposure of the plot or argument, if you prefer, you can then begin. Enter

six figures: the two men take the place further down, in front of them, the two pairs of girls, spread over many steps. All dressed schoolchildren, white shirt, dark trousers or skirt at the knee of the same fabric and length, almost reminiscent De Amicis (but at that time the classes were separated), retro touch that surprises and entertains the room. Julia Solano, the first in the lower left corner of the public hunting Flautino a minute to set the tone and, armed with a wand from direction orchestral beats time. The six

throats open. Concerto. Bewilderment. The white-listed sing a chorus of onomatopoeia, stumbling speech, rendered in a plastic nasal screeching sound from puzzled. For the first full minute the audience is thrilled: "It is he or is not he?", One wonders, and the answer - just an ear to s'adusa soaring virtuosity of the score of Wolfango-can only be affirmative. L 'Ouverture winds, supple, innervated modulations that undercurrent of humor is not giving up his masterful author, still leave presage the tragic gloom of the story: six adults and they sing like a happy childhood regression was extended in underbelly and welcoming of babbling. The public understands, feels, tunes to the frequency of this unsettling punished loose and the laughs coming as the timely monsoon storms: the first tentative bursts, followed by waves of unstoppable comic orgasm.

It is clear adaptation for six voices (which are often three, combined) is tasty, not at all amateurish, respectful, indeed, in certain joints metric and melodic to the point of not highlight the inevitable shortcomings compared in orchestral performance. Also on the faces. Yes, the faces: sharp, series, secchioncelle, those in the front row (with the aforementioned Solano, a wonderful Giulia Gallo), more Welcome and soft Arianna Maria Paciosi simply irresistible Matthew Pizzanelli and the Polish FA. One, tenor and air, subtle facial expressions and comic timing in rapid outline of the face, the other seraphic, placid, baritone, with a grace of paradox and happy in drooping eyelids: a perfect performance in the unforgettable Perozzi-Philippe Noiret madrigalist of my friends - the second act .

Sold the prologue to the symphonic, here is the screen displaying the words of the musical drama, in which we couple a happy marriage of love, and the verses of our singers versacci noisy. Don Giovanni is a button, alive, torn certain (not always) staid opera forums. It comes from shouting: "This is Mozart! (And Da Ponte), recreated in its push groin, in his mischievous spiritaccio in the corrosive power of an irrepressible talent. But not only is this performance that is Zappa in theater, opera, music and the Zappa's orchestral certain directions, the Zappa of certain raveliani boleros, deeply respected, yet removed from the inside as toys by children curious.

The risk is - it was - the length, for a game (not a joke ) has a similar endemic time: John Warren carves well but nothing that a reduction omits while streamlining the whole. Other gags are found, always well taken, by way 'of variations on the theme, according to an even more musical and karst guessed.
surrenders basically recreated the mood and muscle, happy that a company which remains Sandbags can always surprise us, to avoid the beaten track and to demonstrate again, if proof were needed, that the fidelity maximum work of art is expressed only in a miraculous reinvention and necessary.

Igor Vazzaz July 12, 2010

Reviewed Subject:
Don Giovanni by WA Mozart, played by The Sandbags, designed by Giovanni Guerrieri Giulia Gallo Giulia Solano

Production: The Sandbags / Sandro Lombardi Society, in collaboration with Theatre of St. Andrew Pisa, The City Theatre Festival Armunia Etruscan Coast, with the support of Regione Toscana
Viewed: in Cascina, The City Theatre, Metamorphosis Festival, June 5, 2010
The tour: 21 / 7, Calci (Pi), Certosa, 5-9/9, Rome, Teatro India, 21-24/9, Castiglioncello (Li), Festival In-Balance, 6 / 11, Turin, Teatro Stabile, November (date to be defined), Lucca, Teatro del Giglio; 9-10/12 Pisa, Teatro Verdi, 18-30/1/2011, Milan, Crt
suspect: is that Mozart would have loved this version, he's Don John wrote it just like that, but it would be impossible for those times I
Sandbags: tosconapoletana company that offers entertainment for years in between research and comedy, with rigor and invaluable skill, won the 2008 Premio Ubu
be (re) see : Sandokan (or the end of the adventure), 1939, not to mention Essedi , in collaboration with artist (and for the occasion actor) Gipi
For info: www.sacchidisabbia.it

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