Le bourgeois gentilhomme / Ariadne auf Naxos by Strauss, втр 10 сент. 2024, С (2024/2024), Режиссер Chiara D'Anna,, Дирижёр Iván Fischer, Teatro Nuovo Gian Carlo Menotti, Сполето, Италия

"Excellent princess, and who wouldn't understand. That the pain of such rare and illustrious characters With other yardstick should be measured Than that of ordinary mortals. But we are not here women among us, it does not beat In each chest a mysterious, mysterious heart?" ‍ Ariadne is the princess of Crete, seduced and abandoned from Theseus on the island of Naxos. Zerbinetta is a cheerful "common mortal," intent on the game of loves that surrounds her. The one locked in sorrow, the other radiant in joy. The one an emblem of fidelity, the other of lightness. They are the heroines of two entire traditions, two souls of theater: one born to surprise and amuse, the other to plumb the depths of man. The distance separating them is not enough to to curb the whim of the aristocratic Viennese landlord who, in the prologue of Strauss'opera , decides that the two scheduled performances will be staged at the same time, on pain of missing the inevitable fireworks to midnight. And it is here that we discover - Richard Strauss and his librettist Hugo von Hofmannsthal first, and we to follow - that the boundaries between drama and comedy are much less rigid than we expected. Greek myth is shot through with the hilarious energy of commedia dell'arte. On the island of Naxos, Harlequin, Brighella and their entire arsenal of pranks land, leaving the nymphs astonished at their oh-so-refreshing presence. ‍ Iván Fischer adds a mirror to the invented play from Strauss and von Hofmannsthal. Joined in directing by commedia dell'arte expert Chiara D'Anna, Fischer creates a new staging that begins like a concert: the Budapest Festival Orchestra plays Suite from Le bourgeois gentilhomme, which Strauss considered his favorite music, despite being forced to to exclude it from the first version of Ariadne auf Naxos. Soon comic actors enter the stage. The stage is no longer the floor on which the orchestra professors rest their feet; it is the magical place that awaits the unfolding of a story. It is then that the singers can enter. Music, tragedy and comedy fade into each other, we are no longer sure we can to discern their contours.