The stone host Aristotele III

In the last part of Nineteenth Century, the mobility of characters (over the spaces) streamlines in many italian operas. For the composers, the international or intercontinental vicissitudes, braved by Leonora and Alvaro in Verdi’s La Forza del Destino or by Manon Lescaut and his cavalier in the homonymous Puccini’s opera, loose interest in a progressive way. Verist poetics in a one side, and the employment of pièces bien faites in the other side, make the action more delimited in the use of spaces. So, the action takes place just in one city (for examples Paris, in Cilea’s Adriana Lecouvreur or Puccini’s Bohème, Rome in Puccini’s Tosca), or in a little zone (the wood in Puccini’s La Fanciulla del West), or in a single location (the royal palace in Mascagni’s Isabeau and Puccini’s Turandot). At this regard, Mascagni’s Cavalleria Rusticana, is an evident example: the scene is just one. The village square is the only place shown all the unique act long. In a similar way, in Leoncavallo’s Pagliacci the characters still move in one scene, notwithstanding the structure of the opera is developed in two acts
Certainly, in the reduction of set’s changes is implicit a lack of budget in production. But in the same time, this choice reveals a cultural trend, a change. The attention, in fact, is shifted to the relations of characters, prisoners of own obsessions, crystallised, indifferent in world exploration, or incapable, inadequate to cultivate relations with reality in active way.

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