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FULL L’armadio alluvionato Brescia 2000 Caterina Calvi, Luciano Miotto, Ruslan Yudin

Video Recording from: YouTube     FULL VIDEO          Qries

Information on the Performance
Information about the Recording
  • Published by: Archivio Lorenzo Arruga  
  • Date Published: 2024  
  • Format: Unknown
  • Quality Video: 4 Audio:4
  • Subtitles: nosubs  
  • Video Recording from: YouTube     FULL VIDEO

L’Armadio dell’Opera buffa, a classic cabaret, which we present in Brescia, is the story of a girl who identifies her love stories with those of the world of opera. She goes to a psychoanalyst, who makes her tell about her life from childhood onwards: she opens a wardrobe (her memories, her unconscious) full of objects, clothing, books, gramophone, from which the characters also begin to emerge of his stories; and the wardrobe, with a game of ante-scenes, transforms into a theater.
Unfortunately, the wardrobe remained in Valle d’Aosta, where it was located, because the flood isolated the streets. All we have to do is tell the story, changing it a little. There will therefore be a Narrator (Lorenzo Arruga) who will also be at the piano and will gradually explain what the spectators must imagine. On stage there will be a basket of costumes and minimal props. And it will be a more sparse and naked game than expected.
The story is now this. Carolina Cru (Caterina Calvi), an opera fanatic, first falls in love with a cello (Andrea Cavuoto) and sings, with celloblig, Amor fammi goder (Arie di Parma, Anonimo). She then begins to discover the opera: she confuses reality, turns on the television and at the weather report exchanges the temperatures with Don Giovanni’s conquests (Luciano Miotto first reads the Aria from the Catalog as a bulletin, then performs it). Carolina is enchanted and she prepares the welcome for him while she sings Vivaldi’s Aria Vedrò con mio diletto. But Don Giovanni has seen a girl he likes in the audience, and begins to court her with his cell phone (Alfin siam liberati…); she (Sabrina Vitali) responds, goes on stage and duets (Là ci darem la mano). Carolina attracted, tries in vain to fit in (Let’s go…); but then she understands that she must find love not in the character but in the interpreter. And she falls in love with a Russian tenor (Ruslan Yudin), from whom she hears sing Una furtiva lagrima. She identifies with him, she sings the last part as a tenor. She then dresses up as a Russian pianist (wig, mustache) to be close to him and accompanies him in another aria. He doesn’t pay attention to her, offers her photo to the public, takes tenor poses. Mature baritones are better, she thinks. At the scene of the slap from “Don Pasquale” he becomes indignant, invokes equal conditions, gives Norina a slap. Carolina doubts that the opera is not so suitable for today: she then (in playback) sings Vivaldi’s Nel profound blind world in its rock adaptation. But she doesn’t like it. However, on the stage there is the cellist, who had been playing in the background throughout Lorenzo’s story. She looks at him, understands that it was not the cello that attracted her but the cellist. She sings Amor, let me enjoy. He thinks about it for a while and then goes for it.
Happy end.

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