Name: Cavalleria rusticana
Start: 2022-04-26T00:00:00.000Z
End: 2022-04-26T00:00:00.000Z
Location: Mikhailovsky Theater

Organization

Director, host of the play

Olga Kokh

Singer

Tenor

Dmitrij Golovnin

Turiddu

Soprano

Olesya Petrova

Santuzza

Baritone

Nikolay Kopylov

Alfio

Mezzo-soprano

Victoria Voytenkova

Lola

Contralto

Irina Mikhailova

Lucia

Conductor

Alexander Soloviev

Stage director

Liliana Cavani

Production designer

Dante Ferretti

Costume designer

Gabriella Pescucci

Lighting designer

Gianni Mantovanini

Set designer

Marina Bianchi

Assistant production designer

Leila Fteita

Music director productions

Daniele Rustioni

Artistic director of the production

Elena Obraztsova

Chorus master

Vladimir Stolpovskikh

Alexey Dmitriev

Sergey Tsyplenkov

Project curator

Yulia Prokhorova

Italian language consultant

Daria Mitrofanova

Subtitles

Margarita Kunitsyna-Tankevich

Mikhailovsky Theatre

ítalska

Cavalleria rusticana -  (Rustic Chivalry)

Saint Petersburg

Russia

Mikhailovsky Theater

Cavalleria rusticana Mascagni

Public

Private

Rustic Chivalry

rússneska

Approved

The music of Pietro Mascagni from the opera Rural Honor, without suspecting it, is known to millions of people: the romance and drama of the soundtrack to the movie The Godfather fascinate. And even the fragmentation of the opera fragments did not reduce them to a simple quotation, since the Sicilian crime drama is the flesh of the flesh of Rural Honor. From a mixture of literary psychologism, cinematic neorealism, operatic verism, a phenomenon emerged that many masters relied on, including director Liliana Cavani, student of Luchino Visconti, world-famous film director, author of the famous film The Night Porter.

Cavani's attention to the work of Mascagni and Leoncavallo can be explained by her interest in verismo, a movement in Italian opera that emerged in the 1890s. Operas by verists are characterized by the utmost simplicity of plots taken from everyday life, but neither in life nor in opera can one do without tragedy. Compressed into one action, a tense plot - a premonition of a catastrophe and a break in the action at a bloody denouement - could not help but attract Cavani. “Cinema is a kind of psychoanalysis that I subject myself to,” says the director. In opera directing, she also does not abandon her principles. Against the background of the solemn simplicity of a modest life, like a spring, the most trivial story of love-treason-mystery unwinds.

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