Four good reasons not to turarsi nose Il Foglio February 26
February 25, 2011
Four good reasons not to turarsi nose Friday, February 25, 2011
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• Why run to Parma or Reggio Emilia to see a staging conceived in 1974 of the "Nose" by Dmitri Šostakovi? First, consider how a few rubles (in 1974) but so much talent can be put on a show still fresh and funny. In a time when serious concerns regarding the closure of the temples of opera in Italy (whose average costs are twice those of the European Union) is salutary to see how the small "chamber opera" (200 places) the director Prokrovksij Boris and his colleagues have been able to recreate the Petersburg of the late nineteenth century, ranging from the immense cathedral to the corridors of power with a minimum of props, costumes and clever play of light bright: what is more surprising is that the show is also impressive today not only the elderly but also young people (as we have seen the preview for those under 30).
Secondly, the director Boris Prokrovksij staged the work after 41 years since the last representation in Russia. Was banned after two performances in 1931 (a triumphant return after 14 performances in 1930): even if it was staged in a secondary theater of Leningrad annoyed "Moscow-that-could", to Stalin and his entourage. Still scratching against all bigotry and is therefore very timely. Thirdly Dmitri Šostakovi turarci teaches us not to go straight but his nose.
In 1930, he was 24, was a big champagne drinker of Crimea and frequent visitor of the beds of other men's wives. A fortiori, in his first work for the scene ridiculed the false respectable Puritans. Fourth, the show is the result of team work in which singers and dance with brio recite a "Wozzeck" in reverse. An age similar to that painted by Berg is shown not with bitterness but with joy and irony with a daring and eclectic score on both the orchestral and vocal.
© - sheets daily
Giuseppe Pennisi
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