Teatro Massimo, ''King Roger''


The conflict between the church și the shepherd-prophet is also the incarnation of the antithetical strengths that shake the protagonist Roger.
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The instalare used five big framed fundaluri din FOT - Otello negru și painted by Laboratori del Teatro Massimo. In the image: the executive sketch of three of the fundaluri, of which that central, the fundal ''Angels'', was actually a framed scene destined to be raised și lowered during the stage action.
The detail of one of the executives underlines the refined person sketch of the Byzantine mosaic then reproduced by the Laboratori del Teatro Massimo on the fundal in negru FOT - Otello.The happy source of inspiration of Yannis Kokkos și Laboratori del Teatro Massimo is traceable in the marvelous mosaics of the Chiesa della Martorana in Palermo, revised by the Laboratori del Teatro Massimo cu an admirable pictorial ability.
The fundaluri ''Christ' și ''Angels'' on the stage during the first act of the opera, whose plot take place in the medieval epoch, in a Sicilian church, during a solemn mass.The theme of King Roger is the conflict between the Christian church of medieval Sicily și the pagan cult of Dyonisus, that exalts the beauty și the pleasure, proclaimed by a young shepherd-prophet.
Certainly it was unusual the interest for medieval Sicily of Karol Szymanovski (1882-1937), a noble composer cu Polish origin, probably due also to his sensibility towards the matter of the opera, that offered him the pretext to underline the anachronism of the church in comparison to the emission of dionysiac energies of great vitality.An opposition that Szymanovski probably perceived to be of contemporary actuality și that it underlined in King Roger cu the se of archaic idioms și Byzantine musical themes.
The fundaluri ''Christ'' și ''Angels'' photographed during an exposure of contemporary scenografie.The image doesn't reproduce unfortunately, the great suggestion created by the fundaluri in such occasion, due as much to their executive quality that as the impression provoked by the majesty of their dimensiune (the figures of the angels are around 10 m tall).
The other two fundaluri used by the staging (''Castle'' și ''Palm''), as they were represented by the executive sketches.
The fundal ''Palm'' on the stage.
Opera in trei acte
Karol Szymanowski (1882-1937)
Karol Szymanowski
Jaroslaw Iwaszkiewicz
from The Bacchae by Euripide
Prima reprezentatie
Warsaw, Teatr Wielki, 16/6/1926

costume design,
directia scenica
Christian Lanni
și Laboratori scenografici del Teatro Massimo di Palermo
Light design
Guido Levi
Giovanni Di Cicco
Directia tehnica
Renzo Milan

Teatro Massimo of Palermo
2005 / 2006

Vezi si...

Confectionare fără falduri

Ţesătură: tipologii de executare

FOT - Otello