From 7th to 17th february at Sala Ridotto del Mercadante
16th february 2008 | Mercadante Theatre - 9 p. m
Petruzzelli Theatre of Bari, Baroque Orchestra Cappella della Pietà dei Turchini, Valli Theatre of Reggio Emilia
The Alidoro
music Leonardo Leo - booklet Gennarantonio Federico
direction Arturo Cirillo
assistant to direction Nicola Berloffa
dress Gianluca Falaschi
painting lights Pasquale Mari
light realization Fiammetta Baldiserri
light employer Ugo Mahieux
scenography Bellando Randone
dress provided by Costume Fashion Home and Cosmetics, Roma
singers
Maria Grazia Schiavo, soprano, as Faustina
Maria Ercolano, soprano, as Luigi
Valentina Varriale, soprano, as Zeza
Francesca Russo Ermolli, contralto, as Elisa
Giuseppe De Vittorio, tenor as Don Marcello
Filippo Morace, baritone, as Giangrazio
Gianpiero Ruggeri, baritone, as Meo
Gaetano Bruno, as Cicco
Baroque Orchestra Cappella della Pietà dei Turchini directed by Antonio Florio
first violins Alessandro Ciccolini, Rossella Croce, Yayoi Masuda, Paolo Cantamessa
second violins Marco Piantoni, Nunzia Sorrentino, Massimo Percivaldi
viola Rosario Di Meglio, Fulvio Milone
violoncello Alberto Guerrero, Claudia Poz
harp Chiara Granata
theorbo Ugo Di Giovanni
double bass Giorgio Sanvito
flute Tommaso Rossi, Marcello Gatti
horns:Gabriele Rocchetti, Francesco Meucci
bassoon Elena Bianchi
harpsichord Francesco Moi
With the cooperation of Tourism Assessorship and the Cultural Goods of Campania and of Ente Provinciale for the Tourism
Arturo Cirillo reports an intriguing musical adventure to Mercadante Theatre, where three years ago he has suggested a lucky interpretation of La Piramide di Copi. Together with Cappella della Pietà de' Turchini, the ensemble of instrumentalists and singers specialized in neapolitan music of XVI, XVII, XVII centuries, this time Cirillo faces Alidoro, a musical of 1740, excellent example of comic opera characterized by the presence of tuscan and neapolitan languages. As a return to the origin for Mercadante theatre, born as neapolitan comic opera temple.
"In the Alidoro" , explains Cirillo, "nothing happens, except for a subtle and beautiful play of relations among seven main characters. As in a Marivaux's text only social differences worth, where middle class is attracted by servants and servants love only their similars. In this carillon of entrance and exit, as in a Feydeau commedy or in a Ophuls movie, you can come in the scene only to shadow, to spy on, to court someone else. The place where this happens has no importance, we could be without theatre too. I imagine a hot abstraction, where the unreal function of singing, or of acting, you can find its naturality.
A place where the music can breathe and infect the singers' body and voice; where the meaning of words isn't dissolved by its sound. A opera for italian teatres of prose too because, singing or acting, it is always theatre: a collective play of morra among interpreters, musicians, directors and last but not least, spectators. In the Alidoro everyone is infected by the doubt's God, who is not infected, has a disenchanted (Alidoro) or high (Don Marcello) idea of themselves. Everyone is a victim of his feelings, taken around by wild wind of jealousy or of greed, in this unfailing flapping golden wings on the music time".