Posts Tagged ‘Sonia Arienta effetti collaterali’

Backgrounds and foregrounds II, by Sonia Arienta

The background is an objective element, big screen where the time of the (hi)Story flows, while the foreground focalises the attention towards details, where the individual acts. The background receives the time flux; the foreground describes the instant’s particular aspect, the plot’s development. Backclothes descriptions take allegorical characteristics, they delineate an objective “commentary”, the world nearby the individual intimate, private dimension. In Guillaume Tell first scene, the title role’s home is setted in foreground, nearby the torrent and other village’s houses; in the last scene it appears faraway, enveloped by flames, sign of extreme help’s request transmitted by Gemmy to Swiss countrymen. This house’s recession toward the foreground is a sort of warning concerning the renunciation of individual good in favour of the common one: the sacrifice of Tell’s home permits to free the Country from the tyrant’s arrogance.
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Historic and terrestrial coordinates II, by Sonia Arienta

In XIX century first years, the italian peninsula counted up five important cities: Milan, Naples, Venice, Bologna, Florence and an urban texture made with more little ones. Tuscany, Lombardy, Venetian region, and Piedmont had a system of trading towns and administrative centres serving the surrounding lands. Close relations between country and urban areas originate the first industrial wave in Piedmont and Lombardy subalpine strips. In these zones, connective tissue between two realities, the urban and the rural one, is very thick. It is not contemplate a rigid distinction, but relations of mutual exchange.

In XIX century italian opera repertoire, urban locations attract the preferences among musicians and librettists, last trace of Enlightenment culture. In fact, cities are the place where had formed and grown bourgeoisie; whereas country is connected with Ancien Régime context…

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Historic and terrestrial coordinates, by Sonia Arienta

In an opera libretto space-time coordinates appear among the first indications, near by the names of the characters, and typify the plot, its historic and geographic locations. “Where” and “when” in the opera are the outcomes of an aware choice made by composer and librettist. Beyond of and notwithstanding the constraints of censor (in the age where it is active in an explicit way), the second (and third) hand origin of librettos, extracted from dramas and novels, and the antinaturalistic essence of a gender which uses stylisation as guarantee of a manner to create a “distance” effect in the audience.

In XIX century italian melodrama, the action set in our country are in a more little number compared with the one set abroad. A consequence of interest towards european literature products, at the origin of the plot, but, also the result of the cultural curiosity, of the desire in exploring what is “different”….

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The crown jewels, by Sonia Arienta

The plot of Rigoletto and La Traviata no longer belongs to the knowledge of italian citizen majority. But the fault is not so much imputable to an audience of little curiosity and culture, annihilated and passive by the bidimensionality of tv, computers, screens, deceiving the ears with stereophonic tridimensionalities and dazing the eyes with a carnival of images too much often devoid of contents.

The core of the problem stays, rather, in the collusions between media sectors, ministries of education and the most trash exigences of entertainment business majors. Then, in substance, it stays in the short-sightedness of cultural politics, managed with ignorance and bad faith, in particular towards music.

Not teaching citizens about the best products of their nation is an irresponsible, foolish and self-injuring act, as to forget and to lay crown jewels to the sticky embrace of dust and cobwebs in a dark side of a cellar. So, they risk to lay unused, until at least somebody gives them a suitable display and diffusion. Fortunately, operas, like diamonds, do not decay even they are forgotten for a long time.

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Characters and audience – II, by Sonia Arienta

In an opera construction, the importance of the choice of the subject, of characters is an unavoidable element in understanding the message and the world vision proposed by the composer to his audience. But in too many examples, it takes second place in the thoughts, either by “simple” spectators, or specialists. Notwithstanding the different reasons. Melodic lines, harmonic and rhythmic structures, orchestration, beyond the considerations of poetics and aesthetic values, are functional to performance a story, a “sung” tale. With effects and consequences that the last one has at emotional and intellectual level for audience. All essential elements to invite spectators to make themselves questions not only about the opera, the poetic and aesthetic preferences of composer, but about his lecture of the world. Especially in order to the contemporary interpretation of repertoire melodramas it is always necessary to consider the coexistence of two levels: the reactions searched and obtained by composer towards audience contemporary to him; the ones shown to the nowadays audience…
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