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Two operas will be staged in Spoleto, La Dirindina va a Teatro and Pimpinone

This is the “diptych” of the opera: two intermezzos in a single show, la Dirindina, by Domenico Scarlatti and Pimpinone by Tomaso Albinoni. The interpreters are

Sparkling, amusing, ironical and joyful. This is how we would define the opera “diptych” that the Lirico Sperimentale of Spoleto will be presenting on Friday 21 September (repeats on 22 and 23) at the Teatro Caio Melisso, in Spoleto.

“Diptych” because two intermezzos have been put together: La Dirindina, by Domenico Scarlatti, on a libretto by Girolamo Gigli and Pimpinone by Tomaso Albinoni, on a libretto by Pietro Pariati. Two intermezzos presented on a single evening in a production by the Sperimentale that has been given the title of La Dirindina va a Teatro (Dirindina goes to the theatre), because the pages by Scarlatti and Albinoni are both interpolated by the irresistible treatise Il Teatro alla Moda di Benedetto Marcello, (The theatre in the style of Benedetto Marcello) that even in the year when it was published, back in 1720, with pitiless humour and a sharp sense of realism, it already highlighted all the defects of the opera genre.

The director of the performance, Alessio Pizzech, is constantly poised, in his approach, between drama and opera.
With this new project,that began last year when we produced Dirindina – says the young, successful director from Leghorn – which has been enriched this year with the addition of Pimpinone, we are continuing in the intent of enhancing the repertoire of intermezzos by carefully studying the representation systems with a contemporary eye.

This year’s performance begins with the emphasis on the theatrical nature of these works of art of 18th century culture. La Dirindina va a Teatro, therefore presents itself as a tribute to the Theatre and to its reference , to the magic of stage pretence. With all its technical and aesthetic aspects, the stage becomes the place of Pretence with the Theatre in the style of Benedetto Marcello acting as matrix.

The dramaturgic writing of this literary material – says Pizzech – with its linguistic funambulism underlines a horizon of meta-theatrical thought.

The protagonist is the Company, a microcosm, a miniature society on the move with its love and hate stories: the actor, the character, the man behind the mask is the point of interest. The group of young singers who arrive at the theatre, stage two intermezzos, and a crazy and wild, but just as lucid, Head Comedian starts and leads the drama machine. The characters are the offspring of the great tradition of the Commedia dell'Arte, but they are no longer in the guise of stock characters, they come to terms with social change, a transformation between old customs and a new fashion: they tell of new needs and new codes of reference.

The world is changing and the Theatre, or rather these intermezzos, reflect such change. And it is the female characters that speak about change, all being ante litteram Inn-keepers; in this Theatre it is the woman who becomes the emblem of the new direction taken by history.

In the case of Scarlatti’s Dirindina, the young girl rejects the authority of her old singing teacher and opts for Don Liscione, and in the case of Albinoni’s Pimpinone, it is Vespetta, the protagonist who disrupts the social pattern by taking advantage of the old Pimpinone thus becoming a real social climber: femininity bursts out onto the scene.

La Dirindina va a Teatro, is therefore a tribute to the stage that speaks about a society, a theatre that acts as narrator of customs as if it were a lens and a spotlight on the vices and virtues of a historic period; it is a journey through the forms and tempo of the representation which involves the entire stage, and even the audience which is made to feel a protagonist – says Pizzech in his concluding remarks.

the interpreters are the young singers of the Sperimentale, who are all winners of the Contest held this year and in previous years, some of whom have already started their artistic career, while others, in line with tradition, will make their debut on this occasion in Spoleto.

For Dirindina the soprano will be Eleonora Buratto in Dirindina, the baritone Omar Montanari who will play Don Carissimo, the tenor Enrico Iviglia will play Liscione.

For Pimpinone the mezzosoprano Francesca De Giorgi will play Vespetta and Omar Montanari, Pimpinone. Head comedian of the show is the actor Francesco Wolf.

The musical edition is by Andrea Amarante who will also participate as harpsichord player with the Ensemble of the Teatro Lirico Sperimentale of Spoleto.

Tickets are on sale at the new box office of the Sperimentale institute, in Via Filitteria, 7 (Spoleto) tel. 0743.225918 – 329.8529053.

For information: Teatro Lirico Sperimentale Tel: 0743.221645

(20-09-2007 07:23)

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Pubblicato in S.Mariano - Perugia - Italia - Ultimo aggiornamento: 20-09-2007 alle :