Custom Green Egg Tables

heroine protofemminista

(from Judgement )
Isabella, the protagonist of ' Italian in Algeri by Gioacchino Rossini , triumphs with the guile of a world led by the only male sexual appetites

kaleidoscopic, bright, swirling, The Italian Girl in Algiers valuable data on the boards of the Maggio Fiorentino. And the city provides the lily well this season a special relationship with Catalonia fitters of visionary and courageous, if the previous were the fantasies of hyper Fura dels Baus shocking video screens to illustrate the power of two quarters of Wagner's Ring ( Siegfried and Götterdämmerung , directed by Mehta), recently it was the turn of the unforgettable masterpiece of Rossini, which has benefited from Els Comediants playful creativity, historical formation Barcelona at the turn of the fortieth year of activity.

First chapter of a radical and unimaginable revolution comic opera, The Italian in 1813 represents a further and decisive confirmation for a twenty-one Rossini initiated greatest success: hard to make it fully into account what the Pesaro was considered already in life, we think that Stendhal, in his biography dedicated to him, comes to comparing it to Napoleon for the ability to win swift and public consensus.
In a time when it was feared that the musical theater, especially the comic, he spent solutions and issues, Rossini Fell on the contemporary scene, including the market, from genuine cyclone: \u200b\u200beleven works in less than three years, the creative exuberance able to denote an absolute mastery of composition and impressive sense of theater characteristic overstated in the author Marche. The period between 1813 and '17 (in addition to ' Italian, Turkish The in Italy, of '14, The Barber of Seville of '16, and La Cenerentola ) buries work comic due, in Italy, a localist tradition, to mark a renewed sensitivity to a genre that will only further development in the land of France, a nation that will dazzle your Rossini.

The Italian is not an original subject, since a few years earlier, with music by Luigi Mosca libretto by Angelo Anelli: It is in extremis to save the program of the Venetian theater San Benedetto (later renamed, not surprisingly, Rossini ) that the young composer wrote the two acts of jet, be sure to put a hand to dramatic structure. The theme of the sinking of love and happy crowned in hostile land (Turkish that environment that continues to fascinate the public italics) was widely used since antiquity, but, in the declension of Rossini, acquires an unprecedented color gamut, on d ' a fresh sheet in a position to revitalize the situations and characters, from Isabella wonderful, smart and stubborn, and authentic model of heroin protofemminista goddess ex machina of the plot .
At the Court of Algiers, the mean and lecherous Mustafa Bey divorces his wife, Elvira, to marry her and get to the slave Lindoro un'agognata Italian Italian woman. The arrival, following the pirate assault, on an Italian boat brings the irresistible Isabella, already in love with Lindoro, escorted by cicisbeo Thaddeus (who was also infatuated with her) and now coveted by the Arab tyrant. Is triggered in a plot that will see the protagonist perfect fit to exploit their talents in order to circumvent the union with the enchantress Bey, crown love Lindoro and to impart a wonderful lesson in conduct and dignity at Elvira, in the complete triumph dell'astuzia feminine on a man's world prey to sexual appetites and incapable of strategies in problem situations. Rossini leads the game with writing airy, full of spikes, not given to sentimentality and revealing in brilliant arias of many voices, those in crowd scenes that are, by overwhelming impact and effectiveness of theater, the value added work. This modern 'Italian , which traces the development of the lessons of Mozart and Haydn, composers central to the early formation of the master of Pesaro, and already it seems that of a pregnant sentimento nazionale, arricchito dal topos del confronto tra due culture, una barbarica e ingiusta, l’altra civilizzata e moderna.
Tale ricchezza di temi rende di per sé interessantissima qualsiasi messinscena dell’opera: senza voler cadere nella misera contemplazione dell’attualità politica, in cui gli intrecci col sesso sono da decenni all’ordine del giorno e quindi non necessariamente legati alle recenti vicende del nostro Papino il Breve, la questione del rapporto tra diverse civiltà e, soprattutto, del ruolo della donna, sono argomenti per niente esauriti e, anzi, qui trattati con profondità e, soprattutto, mirabile sorriso.
 
The reduced (subject to the original score) Orchestra of May, under the guidance of Enrique Mazzola deals with the very well known overture perhaps too timidly, especially in the off time. The opening of the curtain gives the eyes a large space, a huge recall hammam in which many human figures (the Chorus of, well directed as usual by Piero Monti) wear cumbersome headgear spherical. Already intuits as directed by Joan Font is full of movement and color, thanks to the clever choreography Xevi Dorca: move quickly, well concerted, liveliness to be savored for the ideas assigned to acting for a building paintings in which we can recognize whether naive and a taste for pop anything annoying. How can we forget the face of the arts carnival giants and the investiture of Kaimakàn in certain sequences from Beatles Yellow Submarine surprisingly guessed that readily harmonized with the humor of the score century ...
In terms of singing, bass Carlo Lepore is a comical and histrionic Mustafa Bey, a prey to greed, which is a dull stretch still foolish modern masculinity, Enea Scala is a nice light tenor, at ease with his phrasing moved Lindoro, Marco Filippo Romano is funny very low effectiveness in the role of which Taddeo and Trajan most savory characters in his laughable stupidity. But it is the female cast to be the best known the specification: Manuela Custer un'Isabella intelligent, mischievous, flirtatious enough, all cunning and mossettine, brilliant acting and theatrical interpretation the nuances of a character beautifully supported by the score. In the face of laborious work, mezzo-soprano (in part by a contralto) governs the rhythms of this well Italian since in the end, which indicates a commendable physical training and great ability to tune to a director of guidance aimed at enhancing the texture highly theatrical work. Elvira Patrizia Cigna and Zulma Katarina Nikolic 'effectively complete a trio of women separated from the occurrence of different life situations, but linked by a subtle and surprising female solidarity.

The large space created by Joan Guillén, also responsible for the amazing costumes, while remaining fixed in the overall structure (two side columns, wooden grandstand in the center viable, multi-colored background) shows beautifully functional in its changing diversity: what are collective scenes as the triumph of the quartet of onomatopoeic end the first act, hallucinatory piece of literary modernity overstated, ol'irresistibile scene Coffee in the second act, the set, no specific historical reference, is the final complement of a hoax that binds to the quality of its overall effectiveness . Needless to stop looking at every detail, for it is imperfect, when what matters, the show outright , offers many ideas and such observation: on the creative director of a conscientious but, in a performance, singing and stage, and that hand happy and experienced team, but most of the world of music, a composer who never cease to tear smiles, thoughts and admiration.

Igor Vazzaz

March 15 2010

Reviewed Subject:
The Italian Girl in Algiers, by Gioachino Rossini, the Teatro Real in Madrid with the Maggio Musicale Fiorentino

The rest of the poster: Walter Franceschini (Haly / low); Italo Grassi, director of the stand; Albert Faura, lights, Andrea Severi, fortepiano; production of Teatro Real Madrid, Maggio Musicale Fiorentino, Opéra National de Bordeaux, Houston Grand Opera singing
The other cast: Simone Alaimo (Bey), Vincenzo Taormina (Haly), John Osborn (Lindoro), Daniela Barcellona (Isabella), Bruno de Simone (Thaddeus)
Upcoming: in Bordeaux, Opéra National, and Houston Grand Opera in the 2010/11 season, not around the corner, but the show is well worth
Quote / 1: "Dear hast broken the eardrum: I talk to frank and round "(Mustapha, I, 1)
Quote / 2: " It's the music that I know more physical "(Stendhal, on cavatina Lindoro, languishing for a nice )
Repair history (partial): Angelo Anelli was branded a "fool" by a disgruntled Ugo Foscolo for being awarded the chair of eloquence at Milan, in 1809, but in fact, Rings was highly respected scholar and librettist
Papyright: the magnificent expression of the Short Daddy is Daniel D'Aquila ( www.indiscreto.it )

rating:

Tricks Using 35mm Film

A serving director Eleonora Danco

(from Judgement )
vojo sarva Me '- No one looks Romanesco is a monologue in which the actress plays the most talented voices, love and comic, of outsider ridden life

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barren stage, raw laconic in the desolate depths of blacks, as a veteran of dismantling after the show. The boards of the stage seem even more worn, almost caught off guard by the drop shadow and voiced by invading a vintage James Brown who, in the bare nakedness of the visual picture, it sounds even more harsh and painful. A female figure, lean and flexible, designed in circular orbits around the tenuous beam projected from above steps nervous, exhausted, to miss the center, suggesting the absence of a nucleus of a foothold. is from this loss, the location and position before and verbal, is this loss of Eleonora Danco axis that develops the theater as an outsider, "off site" unstable, fragile and desperate.

vojo sarva Me '- No one looks is a dual monologue " in numbers, "pot-pourri of voices, characters entangled in the life sucked and Spit, with sweet-sour taste of blood and humours, bitter and funny at the same time. Incarnation Roman and Roman fool of feminine, the Danco weakens in jerky movements, tears dirty body to translate that language, material and arrogant, which is the dialect Capitoline today: no more than classicizzato from literature, theater or cinema (Belli and Trilussa Petrolini Deaf and up to Victor Cavallo and Verdone, to say nothing of Pasolini, the tutelary deity constantly mentioned), but the current, weakened redundancy, in incommunicability of a limited vocabulary that the physical wear and tear look for remnants of sense now untranslatable into words. Suspended between sampling of the real risk (street, but also television) and a poetic re-creation that is always re-invention, artifice irreplaceable to dribble the deadly decline of a language advertising, television and now intolerable, that of "by Totti advertisement. "
The actress-author with commendable self-denial is deep in the size discouraged and pressed the characters, whose language would be supported, stressed and even amplified by the scenic solutions: the perpetual motion, now running and jumping, now crawling and rolling around on the ground, now banging his head on one side miked stage, the Afro-American music , constant companion not without intrusion, the drama, now hours dialogic monologue, entirely left to the body and the voice of the protagonist. What is "crazy street, pair separation in the table of a bar girl in anguish of a metropolitan morning awakening sinks in the regression of a stream of consciousness between memory and pain of adolescence, Eleonora Danco throws himself heart and soul in 'interpretation, with sincere intensity.

is a pity, therefore, that the result is not reached, and beyond the appreciation collected by the actress in recent times, the limits do not seem limited accidental imperfection of an evening. solutions stage, in fact, appear at times naïve, simplistic, perhaps missing director of a stand-alone, foreign eye and at a distance, providing fruitful suggestions : movements, often strained, are over the top, yes fruits of undeniable effort but rarely centered (in consonance or dissonance) to the text. They end up increasing the noise, chaos is not fertile and contributes a selection of music which lacks inventive step. The lights, although the precise calibration Danco that it likes to emphasize, are anecdotal, lacking in rigor and necessity, with the exception of the flashlight cast by the audience in front of the stage, effective but not too original. In the early stages of dialogue, acting, screw in anaphora and rhetorical devices that only occasionally provide significant insights, it is monotonous, without tension and not adequate to innervate a drama suffering, consistent with the preparation, of a lack of scratch to affect soul of the viewer. Missing quid , incommunicable but essential, work of art successful, accomplished, to the point that stands out not to be forgotten, making urgent vision, which makes for an evening at a real theater experience .

remains a talented actress, a playwright animated by great zeal and violent clarity, which would probably a dialectical counterpart in setting an outside director, to avoid the lack of the center of these troubled characters and frantic reverberates within lack of a staging center that offers more doubts than certainties.

of Igor Vazzaz

March 9, 2010

Reviewed Subject:
vojo sarva Me ' - No one looks , by and with Eleonora Danco

Upcoming: Milan, Pim Scenic Area, 12-15/3; Frascati, 20 / 3, and more information http://eleonoradanco.wordpress.com /
Viewed: to Pontasserchio (Pisa), Teatro Rossini - The City Theatre, March 5, 2010
Eleonora Danco: actress and author, has worked at the cinema, among others, by Nanni Moretti, Michele Placido, Marco Bellocchio, Pupi Avati and Vittorio Gassman, theater has worked with Mario Martone and has won several national awards and is considered an emerging artist
The rest of the poster: music chosen by Marco Tecce, MDM, costume, Narda, lighting design; Claudio Cianfoni, lights and sound; Flavia Parboni, assistant director
In library: I was with pure , Minimum Fax, 2009
not received: which would be the Jackson Pollock inspired Nobody looks , stream of consciousness next to other artistic experiences but did not join and no
Despite everything the Danco is nice and we hope that, by refining the method could improve

rating:

Inside Sailor Jerry Bottles

'came the call!

waiting for news at last! The call for

Giulia Magherini for the European Youth Championships in the Italian National Team!

Giulia, in a meeting in Neptune from February 4, will wear the color blue representing Italy at the European championship in the category up to 59 Kgs WKF Junior, 12 will compete Saturday in Novi Sad (Serbia).

A huge good luck!

Is300 Oil Filter Part Number

Team Regionale Toscana

Last Sunday the final selection for participation in the Italian Championship CTR, regional representative for the national competition, to be held in Ostia Lido on 29 and 30 January.

Three athletes selected to be part of the representative of our Association:

Magherini Giulia, Martina
Baracchi
Stephen Marks.

will be part of the delegation also Marco Leonardi (technical team Jun / Sen).

Congratulations and good luck!