(ANSA) – MILAN, June 01 – Amilker Boncelli’s La Gioconda isn’t often staged, not because it’s a long opera but it does require a crew of great vocals. Conductor Frédéric Chasline calls them Six “Singing Monsters” in the new theatrical presentation directed by David Livermore that will debut at La Scala on June 7, 25 years after the last performance.
In La Scala, La Gioconda is still at home, because it first appeared in Piermarini in 1876 and for fifty years remained permanently in the repertoire directed by masters such as Arturo Toscanini and Antonino Votto, translated by singers such as Giuseppe Di Stefano and Maria Callas. In this new production, La Gioconda is translated by Saioa Hernandez, while Daniela Barcellona plays Laura, Erwin Schrott Alvise, Roberto Frontali, Very Bad Barnaba, Fabio Sartori Enzo and Anna Maria Chiuri La Cieca. “The Superhero Company” joked (but not much) Chaslin. Livermore, the protagonist of the installation, who signed the season’s last four inaugural parties in La Scala, Venice, explains a Venice like the one Lasica looks at, a fact inspired by Canova Fellini Fellini and Venice Celeste in Möbius, which he imagines without. The water is on the chasm. Here is the story (very complex and certainly unrealistic) of a blind daughter, Gioconda, in love with Enzo, in turn the love and lover of Laura, married to Elvis and Barnabas who wants to have Gioconda and for this he weaves conspiracies and then tries to thwart her. A story in which not everything is very clear (it is pointless to ask how Gioconda suddenly comes to Laura to give her a potion to replace poison) but no less compelling.
Livermore summed it up: “It’s eight seasons of a compact series on Netflix.” Watching and listening (also live on Rai Radio 3) is secured, with the possibility of attending an introductory conference before all the restarts, also made possible thanks to Milan for La Scala and the famous sponsor Aline Foriel-Destezet, the creative widow of Adecco.
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