Alessandra Premoli, Regisseur
Alessandra Premoli

Alessandra Premoli


maskVan gezelschap / geverifieerd door Operabase


mask Van artiest / agent


Componist & WerkRolProducties
Gli amori d'Apollo e di DafneStage director1
La virtù de' strali d'AmoreStage director1
SillaStage director1
L’Idalma overo Chi la dura la vinceStage director1




IDALMA ~~~~ ​ Alan Neilson - OperaWire ​​ As the Tiroler Landestheater is undergoing renovation work, this production of “Idalma” for the Innsbruck Festwochen der Alten Musik took place in the recently built Grosser Saal of the Haus der Musik. Unfortunately, it does not possess a purpose-built stage for theatrical performances, but rather a raised platform as found in a concert hall, which limited the possibilities for the staging. However, such was the skill and imagination of the director Alessandra Premoli and her team, comprising scenographer Nathalie Deana, costume designer Anna Missaglia and lighting designer Antonio Castro, that the restricted circumstances had no noticeable negative impact. In fact, it proved to be a very effective production indeed. Premoli updated the drama to the present day, with the stage transformed into an abandoned house, in which the furniture is covered with dust sheets. Workers and architects wonder about, either preparing the house for sale or readying it for extensive renovation. However, and unbeknownst to them, the house is already occupied. Lindoro, Idalma, and the rest of the cast are the resident ghosts, who trapped in the 17th century, act out the drama whilst also amusing themselves by confusing and frightening the workers. It was a great idea as it side-stepped the need for scenery changes, and at the same time, the presence of the workers going about their business added to the comedic possibilities, as did the mod cons found in the house, of which Premoli took full advantage. Act two, for example, is brought to an abrupt and amusing end by Celindo cutting through an electric cable when threatening to kill Irene, much to the ghosts’ shock. And having the wall lights flicker brightly in time to Idalma’s excited high pitched coloratura added another humorous touch. It was not slapstick, but it was always amusing and provided the drama with an engaging dynamic. Missaglia’s colorful and flamboyant cavalier 17th century costumes were perfectly matched to the nature of each individual character and brought color and contrast to the staging.~~~ Franziska Stürz  - BR Klassik [translated by german] ​ In Alessandra Premoli, the musicians have also found a congenial director. An excellent idea to present the entire opera on two temporal levels! As in "Wirtshaus im Spessart", Pasquini's opera characters dwell as ghosts in a palazzo to be restored. The extra roles of the construction workers and the architect allow for an entertaining parallel play with the soloists, in which the historically dressed opera characters are allowed to do their mischief with witty effects: The lamps flicker to emotional coloratura outbursts, or stolen beer bottles and broken dishes cause confusion on the construction site. In the baroque opera spirits, everything revolves around love, honour, life or death, but the winking director's eye also allows surprisingly cheeky lyrics to come to the fore alongside love's melodiousness and revengeful furore. This Pasquini was obviously a savvy theatre person and still knows how to touch and entertain. Who would have thought that his "Idalma" would last so long and win!~~~ Jean-François Lattarico - ClassiqueNews         [translated by french] ​ In the smaller auditorium of the Haus der Musik (the Ländertheater is under construction), Alessandra Premoli's refined and perfectly readable staging hits the nail on the head, as do Anna Missaglia's sumptuous costumes, worthy of Van Dick paintings, and Nathalie Deana's neo-classical sets (sections of the walls of a palace under construction, a few antique statues and sliding platforms, a cupboard and a chest serving as exits), aptly convey the atmosphere of the closed-door theatre of mixed emotions. ~~~ Luc Henri Roger         [translated by french] ​ The director Alessandra Premoli had the ingenious idea of bringing two eras together by adding a contemporary setting to the action of the libretto. All the action takes place in the unique setting of a late 17th century Roman villa that is being restored: the period furniture has been covered with protective plastic, the paintings have been taken down and sent to the restorer, and a marble bust also needs to be repaired. Helmeted workers walk around the building site where strange things are happening. The villa seems to be haunted and we soon realise that Idalma's characters are circulating under the ghostly sheets. These two worlds interfere here and there. A sword disconnects the electricity as soon as it is installed, the architect restorer finds a plan she thought was lost torn into a thousand pieces, when she wants to light a cigarette, one of the characters has fun blowing out the flame... Dorillo finds a mobile phone and uses it as a mirror, or is it to take a selfie? The restoration evolves during the action and the villa is ready to receive its owners at the end of Act 3. Moving boxes have been unpacked, furniture installed, the broken statue has been glued back together, everything has been cleaned and the restorer is satisfied with the work. At the end of the opera, the paintings were returned to their frames: the characters of Idalma were represented. Nathalie Deana's progressively dust-free sets perfectly capture the atmosphere of a 17th-century patrician villa, with ingenious sets of movable panels that are installed when, for example, the action takes place in the countryside. Anna Missaglia's highly successful costumes contribute to the same historical accuracy. […]These difficult working conditions undoubtedly inspired Alessandra Premoli, who installed corridors of time in her staging of Idalma, a work also literally resuscitated by Alessandro De Marchi and whose libretto also evokes the reconstruction of a love. ~~~ Helmut Christian Mayer - Opera Online          [translated by german] ​ For Alessandra Premoli directs at Innsbruck's Haus der Musik with a light hand, lots of wit, ideas and allusions. In addition, the Italian director mixes the past with the present and has an old salon of a palazzo (stage: Nathalie Deana) restored parallel to the actual action by construction workers who appear again and again. Although this concept soon wears out, the two time levels intermingle and give rise to many a ghostly as well as comic situation, combining lush, splendid old costumes (Anna Missaglia) with modern ones. ~~~ ​ Manuel Brug - Welt. de [translated by german] ​ Director Alessandra Premoli has very skilfully brought the varied, only rarely convoluted story of a kind of vest-pocket Don Giovanni between two women to the technically limited concert hall platform. Takes four hours, it doesn't get tough. Premoli's basic idea: as mute extras, a stylish architect and some construction workers renovate a neglected classicist palazzo, which in the end shines in new splendour as a museum. In the end, all of the ghostly participants, raging through the plot as shadows of yesterday, sometimes interacting with the play's present, which they do not see at all, appear as a family painting in the hitherto blind frame. La Commedia è finita! And we as spectators were witnesses to it. ~~~ ​ Renato Verga - L’opera in casa          [translated by italian]​ ​ Alessandra Premoli's direction is delightful, imagining the characters as ghosts waking up from their portraits to spite the workers and the architect in charge of restoring a building suggested by the sliding panels of set designer Nathalie Deana. ~~~ Salzburger Nachrichten         [translated by german]   The directing concept of the young director Alessandra Premoli works - as a prime example of dusting off an old masterpiece, but also as a reflection on this year's leitmotif of the Innsbruck Festival: “Perspectives” ~~~ Christa Dietrich - Voralbreger Nachrichten         [translated by german]   Director Alessandra Premoli and set designers Nathalie Deana and Anna Missaglia perfectly handle the limited possibilities of a concert stage and set Idalma in a museum that is being adapted for an exhibition. As long as everything is ready for the visitors, the figures of the paintings on the wall come alive. A good idea, because the confusion, joy, anger and disappointment that are at play here, when Lindoro simply does not want to be faithful, could of course be shown more explicitly. ~~~
Various authors
Various publishers
"GLI AMORI DI APOLLO E DAFNE" by CAVALLI ~~~ S.Ender derStandard[ translated by german]: "The première on Monday evening at the Courtyard of the Theology Department is a rare operatic pleasure: a pleasure to be heard, a pleasure to be seen. That then also lead to dreaming! And with the evocation of the power of dreams begins the prologue, before the nymph Dafne, who spurns her lover, drifts on her emotions. Director Alessandra Premoli finds expressive images that are intensified by the shadow theater "alTREtracce" and add new dimensions - for example when the house façade is being used. This opens up a dimension of the magical, as poetry flares up, amplified by the music. The costumes by Mariana Fracasso are a dream in white, Alessandra Premoli tells in simple, poetic images the story of a young woman who was hurt and traumatized by male desire. Enthusiasm for all this." ~~~ T. Molke. Online Music Magazine [translated by german]: "To emphasize the aspect of the dream, Alessandra Premoli starts in her presentation in a hospital room or perhaps a sleep laboratory. On a bed lies a woman, Dafne, who receives several injections from an obsessively chewing gum, Amore, while a doctor, who later, among other things, slips into the figure of the scholar Alfesebio, takes notes and talks with the manager of the hospital, the later as goddess Venus (Venere) and acting as Dafne's confidant Filena exchanges. With a white mask, Andrea Pellegrini appears as Sonno and summons his three servants, who are supposed to be mythologically the three sons of the sleeping god.[…] As figures, three shadow theater players of the shadow theater alTREtacce perform, forming an important part of the staging. Time and again, as characters on stage and actors behind the stage, they create wonderful visual effects with impressive shadows that immerse the viewer in a dream world. While it is still relatively bright in the courtyard due to the incident daylight, they appear with masks on the stage and let the awakening Dafne dive into a huge white waving sheet or surround the god Apollo with small lamps with a kind of halo. Musically, this early work Cavallis is a gem. Although the story does not prove to be suitable for the repertoire with the incoherently contiguous scenes, it is definitely worth seeing in this imaginative staging by Alessandra Premoli."~~~ R. Kager, Frankfurter Allgemeine [translated by german]: "With deliberately economical means, the director Alessandra Premoli tells the story of the unfortunate love of Phoebus Apollo, taken from librettist Giovanni Francesco Busenello from the "Metamorphoses" of Ovid, to the nymph Daphne. […] The hospital scenario also corresponds to the historicizing, yet contemporary costumes designed by Mariana Fracasso: All are white, with the exception of Apoll's black jacket and Cupid's equally black wings. This pallor gives the scene a surreal atmosphere even without opulent stage design. Following the principles of Jerzy Grotowski's "poor theater", Premoli focuses on every small movement, every fine movement of young singers, mostly finalists and winners of the annual Cesti singing competition of the Innsbruck Festival, which in some cases takes on some of the twenty or so roles.[…] When, at the end of Apoll's touching lament, laurel branches are placed on the front edge of the stage and the three masked people shine with simple bulbs on them to transform the back of the courtyard into the silhouette of a tree, it suddenly becomes cold despite the heat: only as a shadow Daphne present, watching himself in the deathbed. Blackout."~~~ A. Neilson, Operawire: "The director for this production was Alessandra Premoli, who used the prologue as a source for her interpretation of the work. As dawn is about to break, the god Sonno bids his servants to fill mankind’s minds with dreams, infusing them with symbols and visions, and turning shadows into beasts. It is the time when reality becomes blurred and is in a state of flux. Premoli’s characters, therefore, tread the narrow path between sleep and wakefulness. Shadows in the form of projections against a white-clothed background, and shadowy figures, who double the main characters, lead, terrorize or reflect their semi-conscious states. The drama is set in a hospital of sorts. Dafne lies in a bed in a deep sleep, or coma, while the drama begins to unfold around her. As she becomes partially conscious, so reality continues in a dream-like way, happiness giving way to panic, with bizarre happenings, such as her transformation into a laurel tree, with shadowy visions and apparitions everywhere. It was an excellent idea, that bonded itself to the text seamlessly, and produced an engaging presentation.The costumes, designed by Mariana Fracasso, were simple, but effective and mainly in white, from an indeterminate period, contrasting and complementing nicely the sometimes dark, sometimes bright ambience of the sets. Apollo stood out, having more colourful, more clearly defined attire, giving him the appearance of a pop star, of someone accustomed to adoration. " ~~~ J-F. Lattarico , classiquenews [translated by french]: "A “young” production of high level and a coming back to the 17th century’s repertoire, that since a long time is the trademark of this tyrolean festival. Cavalli comes out with the honour of a almost model success by the choice of a founding opera. The sobriety of the sets, some curtains faintly arranged, the shadow plays and the doubling of certain roles by the actors, remember the importance of the mirror playing this inaugural opera under the metamorphosis’ baroque mark par excellence , orchestrated by Alessandra Premoli, brightened up by the magnificent costumes of Mariana Fracasso, were one of the elements for the success of this juvenile production, for nothing inferior to the “adult” productions." ~~~ Gilberto Mion, teatro (.it), [translated by italian] "We are in a large patio, but with little space for the stage, and the orchestra relegated to a corner. Nonetheless, the lively staging of Alessandra Premoli is dissolved in rhythm, and produces seductive effects. Virtually devoid of scenery, it relies however on the fascination of a back theater of shadows created by the Italian team of alTREtracce. Guessed the simple costumes of Marianna Fracasso." ~~~ V. Mascherpa, Operaclick [translated by italian]: "The gestures of the interpreters are very appreciable due to the direction of Alessandra Premoli, with the help of the elegant shadow projections of the alTREtracce group and of the costumes designed by Mariana Fracasso. The gestures entrusted by Premoli to the interpreters created a series of effective frameworks, that highlighted the situations represented by music and libretto with nonchalant adherence and did not in any way feel the absence of a proper scenographic installation, enough architecture of the courtyard to create the appropriate suggestions of space, with the help of a skillful and not prevaricating lighting." ~~~ Giulia Clai, sipario (.it) [translated by italian] "The direction of Alessandra Premoli, with a series of effective pictures, did not make too much the lack of a spectacular scenographic system, and with the help of skilful play of light, designed by the company aLTREtracce, has created engaging suggestions." ~~~
Various authors


Veelgestelde vragen

  • Ik ben een artiestHoe kan ik voorstellingen, repertoire en foto's toevoegen en mijn persoonlijke contactgegevens beheren? Klik hier
  • Ik ben een agentHoe kan ik mijn persoonlijke en zakelijke contactgegevens toevoegen, mijn artiestenlijst bijwerken? Klik hier
  • Ik ben een professional bij een theater, festival, orkestHoe kan ik een professionele castingtool gebruiken? Klik hier
Operabase heeft sinds 1996 wereldwijd de Opera activiteit gedocumenteerd, met meer dan 500.000 voorstellingen in ons archief te kunnen vinden. Operabase registreert het werk van artiesten in meer dan 900 theaters en maakt het seizoensinformatie voor operabezoekers in 23 talen beschikbaar.
© 2021 Operabase Media Limited or its affiliated companies. All rights reserved.