Past Production Reviews
8"[...] 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."
"[...] 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?"
With the beginning of the magical adventure, Tamino, equipped with the magic flute that will help him bring his princess home, finds himself in the submerged kingdom of Sarastro. This, as the images show, is a mix between ecclesiastical walls and windows and post-modern buildings, always populated by marine beings. The three-dimensionality of the representations often seems to invade the stage as if it were fully set up. A small note that could be made to the very elaborate images proposed lies in the fact that sometimes they steal the show from the performers, who often move on the wreck of a twin-engine plane presumably sunk years ago in this indefinite sea. The costumes created by Csaba Antal (who also signs the sets) are a mix between eighteenth-century and contemporary, not always of impeccable taste in truth. The whole show is not weighed down by too much symbolism, and the fairy-tale atmosphere and lightness that the performers breathe makes the work overall very enjoyable and pleasant. The musical company that ventured into the opera was made up of close-knit young people who showed that they enjoy themselves by entertaining, also offering notable qualities from an actor's point of view. Sweet Pamina is played by Marina Bucciarelli . The interpreter sings with remarkable ease, shows a clear and uniform voice in her emission; her character is acted / sung with sensitivity and delicacy, but she does not pose as just any canister, but as the conscious daughter of an imposing queen, from whom she also demands due respect for her. Tamino is a good Enrico Casari . Very well connected with his partner on stage, his character is played with good actorial verve and as much linguistic and musical mastery. Loose enough, the prince of him offers a tenor voice with a beautiful timbre and delicacy. Sebastian Seitz has shown himself to be an artist of considerable interest. This very young baritone held the stage with his Papageno thanks to his physical presence and excellent interpretative skills. His singing is promoted by a beautiful voice of interesting volume, and has amused and enlivened the scene at every appearance of his; the most applauded by the audience in the hall.
The role of Telete was undertaken by the Austrian soprano, Da-yung Cho. She acted out the role superbly; her moods, changeable and extreme; her actions, violent and passive, wild and bizarre. She was able to carry this portrayal into her singing, which was so expressive that her pain became almost tangible.
Dionysos, the son of Zeus and the human princess, Semele, was the last of the gods to arrive at Olympus, and was always seen as somewhat of an outsider. Widely known for being the god of wine, of ritual madness and religious ecstasy, he is also the god of illusion and the theatre. He is associated with the giving over of the self to the senses, both pleasurable and painful, and of the abandonment of restraint and rationality, hence his worshippers indulge in frenzied revelries, who then reap both its positive and negative consequences. It is possible that the Dionysos cult may go back 3,500 years, yet the myth and its message still retain a strong hold over the human imagination, its relevance for today’s society as pertinent as ever, and this is the starting point for the composer, Roberto David Rusconi’s, new opera “Dionysos Rising,” premiered in Trento as part of the OPER.A.20.21, 2018-19 season.
Angelico possesses a ferocious lower register but can still hit penetrating high notes, while his voice has a brassy burnish.
