|Tchaikovsky - Reviews|
|Scritto da Administrator|
|Sabato 23 Febbraio 2013 08:36|
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– FEBBRAIO 17, 2013
On stage at Theatre Millilire is Tchaikovsky, written and directed by Harris W. Freedman: the atmosphere breathes the profound love for art and culture, and love for the music of the great Russian composer, whose life story is told through masterful flashbacks and indirect narrative.
Known throughout the world for his symphonies, the drama reveals Tchaikovsky’s human side, his inner life, his frustrations and weaknesses. Probably Swan Lake, The Nutcracker and all of his most famous works would not have had the same appeal if they hadn't been the fruit of such a sad and troubled life.
The expert use of lights, a piano, a violin, and the music of the master played live in the background: in this atmosphere an ailing Pyotr Ilyich Tchaikovsky enters and with difficulty reaches his chair in the centre of the stage. The human dramma begins, he turns to the past, to his time at the conservatory, to his homosexuality, an offense at that time, to his marriage of convenience, his friendships, his pain.
Some of the scenes are represented on stage, others are presented indirectly through exchanges of letters between protagonists: the way the letters are presented is particularly effective through the expert use of lighting.
As if through a magnifying glass we see the emotions, the delicate contemporary theme of homosexuality: the story is not meant to be an homage, but rather an effort, masterfully done, to examine his essence.
Profound and delicate, Tchaikovsky, will be on stage until March 3, 2013.
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Written and Directed by Harris W Freedman
With Carlo Greco, Gianluigi Pizzetti, Irma Ciaramella, Elisabetta Ventura
The very new and interesting Theatre Millelire, in Prati, resounds with the eternal song of the Swan.
The dizzying creative impulse remains a mystery, the will to cast nets into the unknown and work on form without any guarantee of success. “To explore the birth of genius, once one knows it is genius,” wrote Javier Marias, but first there is almost always torment, doubt, uncertainty in how to spend one's existence, the discomfort in espressing oneself openly, often there is a violent clash with a society that rarely has the capability to understand, the notorious majority. Behind the work of art there is a person, a life with light and shadow, built one day at time in contrasts. Banal, certainly, but always astonishing.
Harris W Freedman's pen has met Pyotr Ilych Tchaikovsky and has drawn a sketch of his soul. Not a small undertaking to distill the life of the Russian composer in a 90 minute play, from age 24 training at the conservatory until his death at only 53 years of age, in circumstances still debated – was it from cholera, which was the official version, or did he choose to take his own life to avoid a scandal that was about to esplode about his being a sodomist? A life on a tightrope, in constant precarious equilibrium, in his intimate sphere, in his need for material things, for money, in addition to his esthetic pursuits.
Presented in the form of a staged reading at the Tristan Bates Theatre in London, the world premier of Tchaikovsky is taking place at Theatre Millilire. A well-balanced play, in the sense that for every simple narrative choice, there is a corresponding perplexity.
The protagonist, Carlo Greco, is a prominent actor in Italy and incarnates the character with plausibility on stage: his appearance resembles Tchaikovsky's in the mind of the audience...The theme of hiding is prominent. Veiled homosexuality is finally revealed on stage, masturbation liberally discussed as well as the excitement inspired by young male students at the academy, with open arms, flexed wrists, bent knees and dancing like a woodland nymph. Often the movements in the scenes are proper dance, as befits a composer that reached the height of musical composition with classical ballet.
Ten characters are represented, a small number in regard to all of the people in Tchaikovsky’s life. The four actors took on the task and were noteworthy in how they changed their movements and vocal tones, in the lovely costumes made by Cabiria D’Agostino. One character, the inane and one-note Modya...impeccably interpreted by Gianluigi Pizzetti, contrasted with the figure of the widow von Meck, who for 12 years provided Tchaikovsky's principal economic support, a multi-faceted woman, tough in family confrontations, and extremely perceptive regarding the music composed by a man whom she met only a few times, although she was interwoven in a profound relationship with him as documented by the frequent letters they exchanged.
Finally, it was a brilliant idea to have live musical accompaniment, basically Tchaikovsky is a composer first and a character second. The pianist Giovanni Monti and the poignant violin of Farfuri Nuredini were powerfully evocative and harmonious during the course of the dialogue, too bad that frequently the music did not continue throughout the text. It was a taste that left one hungry for more. However, these defects do not render Tchaikovsky vain in its complexity, there is truly a great deal of information transmitted, without any loss of lyrical moments of unquestionable value. It could be the result of the extraordinary persona of the author of Swan Lake, impossible to define in a few words, trying to please without revealing all of himself, an exceptional life, but held back, in a certain sense subdued, like “Winter Dreams”, the title of his first symphony.
dance coreography Lydia Biondi
|Ultimo aggiornamento Martedì 17 Giugno 2014 17:04|