Profiilin arvostelut
2"Originally, Giurgola had devised her interpretation for its premiere in the gardens of Vicenza’s Teatro Olimpico, in which she could take advantage of the greenery and delightful flowers, as well as the wonderful edifice of the old theatre. As it happened, it transferred easily to the small stage of Cavarzere’s theatre, which was bedecked with flowers. Having the musical quartet seated on the stage also added to the intimacy of the presentation. Nor did Giurgola lack the necessary imagination to bring the narrative alive, in what was a colorful, elegant staging full of movement, underpinned by an interesting reading of the text and supported by the excellent costume designs of Daniela Boscato. Giurgola’s focus was on the political context of the time in which “Le Grazie Vendicate” was written, a time when Austria was and would become further embroiled in a series of bloody wars, in which violent passions were given free rein, and Man became distracted from peace and prosperity. In response, the Graces weave their white flowers of peace and inaugurate a new god. It was a clever interpretation and worked well. The Graces were dressed in red, symbolizing the blood of mortals that runs so freely when Cupid’s arrows, now tipped with a poison that allows the passions to run uninhibited, enter men’s hearts. The new goddess from the river Ganges is a god of peace, symbolized by her costume which was white with a rainbow skirt. Giurgola’s choreography was also aptly developed, with the Graces frequently taking up poses as depicted in the works of great artists over the centuries. Often, their movement was very lyrical in its conception in which they also occasionally performed simple but elegant dances. The bedecking of the new goddess with flowers was beautifully done so that she became the center of attention, her elevation clearly displayed. [...] It was, however, Guirgola’s impressive direction that was largely responsible for its success. She took what is a simple, and in many ways uninteresting narrative, which could have easily led to a dull theatrical experience, and successfully brought it to life."
"Ottima anche la tenuta scenica dei personaggi, con grande personalità ben definite. La regia di Rosangela Giurgola è semplicemente geniale. Rende ampiamente l’idea della bellezza e della personalità di ogni Grazia, rende attuale e ampiamente fruibile anche da chi è del tutto digiuno del periodo musicale dell’operina e dà vita a momenti di pura magia. Un nome da seguire in futuro nel panorama registico lirico!"
Aikaisemmat tuotantoarvostelut
1"Originally, Giurgola had devised her interpretation for its premiere in the gardens of Vicenza’s Teatro Olimpico, in which she could take advantage of the greenery and delightful flowers, as well as the wonderful edifice of the old theatre. As it happened, it transferred easily to the small stage of Cavarzere’s theatre, which was bedecked with flowers. Having the musical quartet seated on the stage also added to the intimacy of the presentation. Nor did Giurgola lack the necessary imagination to bring the narrative alive, in what was a colorful, elegant staging full of movement, underpinned by an interesting reading of the text and supported by the excellent costume designs of Daniela Boscato. Giurgola’s focus was on the political context of the time in which “Le Grazie Vendicate” was written, a time when Austria was and would become further embroiled in a series of bloody wars, in which violent passions were given free rein, and Man became distracted from peace and prosperity. In response, the Graces weave their white flowers of peace and inaugurate a new god. It was a clever interpretation and worked well. The Graces were dressed in red, symbolizing the blood of mortals that runs so freely when Cupid’s arrows, now tipped with a poison that allows the passions to run uninhibited, enter men’s hearts. The new goddess from the river Ganges is a god of peace, symbolized by her costume which was white with a rainbow skirt. Giurgola’s choreography was also aptly developed, with the Graces frequently taking up poses as depicted in the works of great artists over the centuries. Often, their movement was very lyrical in its conception in which they also occasionally performed simple but elegant dances. The bedecking of the new goddess with flowers was beautifully done so that she became the center of attention, her elevation clearly displayed. [...] It was, however, Guirgola’s impressive direction that was largely responsible for its success. She took what is a simple, and in many ways uninteresting narrative, which could have easily led to a dull theatrical experience, and successfully brought it to life."
