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Stefano Simone Pintor

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Stefano Simone Pintor
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Dorian Gray Matteo Franceschini, Fondazione Haydn di Bolzano e Trento

  • "[...] refined eclecticism of the libretto [...] Positive notes also from the staging by Pintor himself, who made use of the same directing team with which he had overseen the production of Falcone two years ago in Trento. Gregorio Zurla's sets allow agile and kaleidoscopic scene changes, while Alberto Allegretti's costumes place the setting of the opera in the contemporary world. Fiammetta Baldiserri's lighting design is impressive.The audience present, very interested in the proposal, gave the production a polite success, with a few shy ovations to the opera's composer and librettist."
    Martino Pinali
  • "[...] The collaboration between Franceschini and Pintor, with which Matthias Lošek bids farewell to the artistic direction of the Haydn Foundation, is a masterpiece of extreme topicality, which for 120 uninterrupted minutes captivates the spectator with absolutely original expressive solutions, and does not cease to shake him with questions close to contemporary sensibility: who then is Dorian Gray?"
    Silvia Dal Zoppo
  • "That the staging is directed by the librettist himself is then a not inconsiderable strength, since Pintor has the awareness of theatrical timing and the ability to make the most of effective acting, with detailed knowledge of the story and text. [...] The good final success, after a two-hour performance attentively followed by the audience, confirms the curiosity aroused by the contemporary repertoire and the successful association between Franceschini and Pintor." ⭐️⭐️⭐️⭐️ 1/2 - 4 stars and a half
    Francesco Bertini
  • "[...] A maximally expressive play. [...] Then there is the vigorous and engaging literary reduction by Stefano Simone Pintor, who chooses to maintain Wilde's language, but does not feel compelled to follow him slavishly, elaborating a new and highly original dramaturgy through appropriate and intelligent modifications. [...] Pintor also takes charge of the direction, and he does so with his usual happy propensity for the stage, assembling a compact, whirling performance that never tires during its two good hours without a break. A very right choice, so as not to bend a dramaturgical arc that is always taut until the final resolution." ⭐️⭐️⭐️⭐️ 4 stars
    Gilberto Mion
  • "Dorian Gray stood out as an enthralling performance with a strong emotional impact; the tight pace and the immediate connection between episodes kept the tension high and did not allow the audience to applaud openly, however, at the conclusion there was no shortage of applause and the hall rewarded both the performers and all the creators of the work with long applause."
    Daniele Valersi
  • "The third opera in the programme of the Donizetti festival in Bergamo was a surprising and well-deserved success thanks to the cast led by Gilda Fiume and Antonino Siragusa, the direction of Stefano Simone Pintor, and the conducting of Corrado Rovaris. [...] It may be a fragile dramaturgy, but Alfredo il grande is a work that is linked to a close political topicality, and director Stefano Simone Pintor (with set designer Gregorio Zurla, costume designer Giada Masi, Fiammetta Baldiserri for the lights and Virginio Levrio for the videos) did well to gracefully relate it to the contemporary world. Rather than the generic good and legitimate ruler of Tottola's verses, he looks at the depth of the historical figure, the 9th century sovereign who was a legislator and promoter of literacy, translation of Latin texts into English, a cultural policy of fundamental importance for the country's development. Here then, the canonical horned helmets of the Viking barbarians are not only a tender allusion to iconographic tradition, but on closer inspection are actually replicas of the headgear of the famous 'Shaman' of the 6 January 2021 attack on Capitol Hill. In contrast, Alfredo, his wife Amalia, General Eduardo, even the peasant girls Enrichetta and Margherita with Guglielmo (here a prelate) often appear with a book in hand, intent on reading or writing.In the backdrop projections, which are effective and non-invasive, the redemption is a redemption of culture represented by refined illuminated pages, while the barbaric violence has the ignorant and pernicious guise of those who in history have burned and burn books, of wars of yesterday and today.Today we celebrate not monarchy, but civilisation, and indeed Amalia sheds her tiara and ermine to intone her final rondo."
    Roberta Pedrotti
  • "In Pintor's direction, the characters/performers move effectively within a simple scenic structure. Here too, on the same led wall as Il diluvio universale, real images appear, such as fires, destruction and the assault on Capitol Hill (with the shaman's horned headdress that we will find on the heads of the Danes!), alternating with ironic and elegant graphics that use the codes and miniatures of the time. [...] What seemed to be the least attractive show in the Bergamasque review, after a biblical drama and the French version of one of Donizetti's greatest masterpieces, is not only a lucky repechage but has turned out to be the most successful and one of the best in recent years, so much so that we are convinced that Alfredo il Grande has all the credentials to become a repertory title."
    Renato Verga
  • "The performance is staged in semi-staged form, mainly using the screen already set up for Il diluvio universale. The director Stefano Simone Pintor thought that the entire action would take place over a large open book, of which the LED wall is a page. The scene, by Gregorio Zurla, uses few elements, a few chairs for example, and relies mainly on Virginio Levrio's beautiful projections that offer a great reflection on the relationship between history and culture. Images of illuminated manuscripts, of precious and beautiful books alternate with historical films, showing moments when culture was in danger of being eclipsed, as in the Bücherverbrennungen of May 1933. It was decided to remedy the shortcomings of the libretto by turning the discourse to a broader and more universal theme, which in the end also reflects the cultural oblivion in which this very work risked being trapped. [...] The audience, which flocked to discover this rarity in Donizetti's catalogue, decreed an authentic triumph for the entire company, which turned into a veritable apotheosis of applause at the individual performances of Fiume and Siragusa. A performance not to be missed."
    Marco Faverzani, Giorgio Panigati
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Biografie

Stefano Simone Pintor is an award-winning author, director, musician and multimedia artist. After several years of musical training as guitarist, he graduated cum laude both in Theory and History of Theatre at the University of Turin and in Stage directing at the Academy of Dramatic Arts Paolo Grassi of Milan. He started his artistic path by working as assistant director for various opera houses such as the Teatro alla Scala of Milan, the Maggio Musicale Fiorentino of Florence, the Teatro Regio of Turin, the Opera of Rome, the Bolshoi of Moscow, the NCPA of Beijing, the Bunka Kaikan of Tokyo, and many others, as well as shadowing many renown directors such as Laurent Pelly, Dmitri Tcherniakov, David McVicar, Graham Vick and Robert Carsen. As stage director and author, he won several pri

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