FULL Il gioco delle Nozze di Figaro Sarmato 2014 Dionigi Mollica, Katia Arcuri, Teresa Caligiuri, Chiara Cosentino

Information on the Performance

• Work Title: Il gioco delle Nozze di Figaro  
• Composer: Wolfgang Amadeus Mozart  
• Libretto: Lorenzo Da Ponte, Lorenzo Arruga    Libretto Text, Libretto Index
• Venue & Opera Company: Sarmato, Italy  
• Recorded: September 6, 2014
• Type: Staged Opera Live
• Singers: Dionigi Mollica, Katia Arcuri, Teresa Caligiuri, Chiara Cosentino, Luigi Mesoraca, Marco Locanto, Chiara Carrozzino, Sara Froio, Teresa Cardace
• Conductor:   
• Orchestra: EMANUELE DE FILIPPIS, PIANO  
• Stage Director: LORENZO ARRUGA  
• Stage Designer: MARIO GROSSI, ANTONIA CIVARDI  
• Costume Designer: LUCIANA ACERBI  
• Lighting Designer: RICCARDO e TOMMASO CONFALONIERI  

Information about the Recording

• Format: Unknown
• Quality Video: 3 Audio:3
• Subtitles: yessubs, itsubs, gensubs  
• Video Recording from: YouTube     FULL VIDEO
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ADDITIONAL INFORMATION ON THIS PERFORMANCE

A meeting between young people 1786/2014 in the work by Wolfgang Amadeus Mozart Entertainment by Lorenzo Arruga for the Valtidone Festival. Sarmato, Portico degli Alpini, 6 September 2014.
Arruga’s work falls within the activity of training young singers and in his broad plan to promote and make Mozart and his theater closely known. In Sarmato there is no Theater but a hospitable structure of the willing Alpini; there is no Mozartian tradition. The work must be simplified and made known in its message of criticism of social classes (the revenge of the servants on the rights of the masters) as well as in the paths of the characters magnetized in the frenzied madness of the theatrical intrigues of a day. Then dry of Cori, some arias and ensemble pieces, and addressed in its main parts and lines of action. Dried out, of necessity, by the orchestra, replaced by a piano at the foot of the stage (pianist Emanuele De Filippis) that clicks every time the musical part performed live is inserted into the spoken story. There is in fact a script, by Arruga, where the actress (Stefania Medri) guides the thread of the story of the “Marriage of Figaro”, sometimes supported by interventions by Arruga himself; describes the situation of the stage, transformed into a rehearsal room where the young singers in working clothes on which they wear incomplete costumes taken from a basket prepare the opera. They are the students of the opera singing class of the Cajkovskij Conservatory of Nocera Terinese who studied and deepened the opera with the teacher Teresa Cardace at the Summer Camp of the Valtidone Festival 2014, organized by the enterprising artistic director Livio Bollani. It is their first time on stage, and the direction of Arruga works on their charge of enthusiasm and youthful inexperience. It excites them at a meeting between young people, those of 1786, the year of creation of Le nozze di Figaro, and them, youth of the year 2014, stimulated to understand them, to discover them in a game of accuracy and freshness. The game of merging class work into a staging, to combine singing with action and compete with the development of direction, sets, costumes (which they themselves are called to adapt), furnishings, and to charge themselves in competition since there are several singers for the same role, and because their teacher participates among them singing the aria of the Contessa. Recitatives, arias, also duets, trios, the irresistible quintet leading to the Act II finale. For the social protest, an actor (Enrico Ballardini) reads the monologue from Beaumarchais’ “Matrimonio di Figaro”, a revolutionary text that inspired Da Ponte’s libretto. A wild game among the young artists, a contagious game also for the public involved to understand, rejoice, get excited. “With my assistant director Miriam Camerini and the class we trotted at a daring pace – concludes Arruga – with a lot of commitment and relative economy of means. Pupils new to the stage and new to me turned out to be fertile virgin ground. We managed to sew a vision of what happens in the moment of meeting with Mozart. It is not yet a finished work, rather a study that wants to put in contact with this genius of all times and with the Vienna of over 200 years ago. From this impact emerges a mixture of modern and classic, naïve and intuitive, current and ancient, which is the most profound reason of the show.” (From an interview by Paolo Schiavi, LIBERTA’ 6 September 2014).