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Singer

Tenor

Roberto Iuliano

The Duke of Mantua

Pablo Karaman

Baritone

Elia Fabbian

Rigoletto

Soprano

Desirée Rancatore

Gilda

Venera Protasova

Bass

Antonio Di Matteo

Sparafucile

Francesco Palmieri

Contralto

Sofia Janelidze

Maddalena

Antonella Carpenito

Mezzo-soprano

Elena Rosolin

Giovanna

Ivan Marino

The Count of Monterone

Romano Franci

Marullo

Luca Favaron

Matteo Borsa

Paolo Bergo

The Count of Ceprano

Simonetta Baldin

The Countess of Ceprano

Riccardo Ambrosi

A court usher

Nicoletta Baldin

A page

Conductor

Gianna Fratta

Stage director

Federico Bertolani

Costume designer

Mirella Magagnini

Set designer

Giulio Magnetto

Chorus master

Flavia Bernardi

Teatro Sociale di Rovigo

Others

Coro Lirico Veneto

Orchestra

Orchestra Regionale Filarmonia Veneta

Rovigo

Italy

Teatro Sociale

Public

Approved

It is known that many parents, not all, but many, perhaps the least wise,
they said to each other at least once during their children's adolescence
something like: “I'd like to be a mosque or a butterfly for
fly around Gigino and Ninetta and spy on what they do when
we are not there ".
The transformation into a flying being would guarantee a sudden one
withdrawn in case of need, and in case of failure of the shipment,
a less serious loss of dignity than being discovered
in more earthy and creeping forms. It is an understandable desire: remember that the widespread propensity to spy, unseen,
the others and facts that do not concern us, as well as the pleasure of being spied on pretending not to notice it are the declared foundation of one of the most extraordinary inventions of the last
three millennia of human history: the theater. However if for fun
inverted the parts of the subjects in question, we might find
very few children, certainly the wisest, willing to try the same
desire for father and mother.
This is a difficulty that those like us dare to write
theater to be allocated to young people must resolve: to the boys of that
what we do for them matters little or nothing, and the risk of being
crushed by the clear and linguistically colorful judgment of one
fifteen, he is tall. We are not referring to that fictional literature
and theatrical, which flourished in the last decades of the last century, which
it prepares adolescent scenarios imagined by adults for use
exclusive and private for young and very young people. No, we refer to the
pleasure of putting ourselves on the line, we adults, in front of them, so little
willing to browse our world, taken as they are by theirs,
now incomprehensible to us, existential problems.
This time we try taking inspiration from Dino Buzzati: author - works
major apart - of some titles for young readers they have
still good circulation, such as The Famous Invasion of the
bears in Sicily, but little present in school programs and perhaps
also for this almost unknown to the public that interests us.
We'll see how it turns out.

English

Rigoletto by Verdi, Frá (2016/2016), Leikstýrt af Federico Bertolani,, Hljómsveitarstjóri Gianna Fratta, Teatro Sociale, Rovigo, Italy

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