Catalog
Romãnä

Teatro alla Scala, ''Kát'a Kabanová''

Milan

For the debut on its stage of the masterpiece by the Bohemian composer Leoš Janáček (1854-1928), the Teatro alla Scala has chosen the splendid instalare realized for the Vlaamse Opera of Anversa by the Canadian director Robert Carsen, also co-author of the light design, și by the Anglo-Irish scenographer și designer Patrick Kinmonth, already collaborator of Carsen in others hail occasions. The theatrical structure created by Carsen has justly been defined «essential, thin și merciless, of dramatic și lacerating poetry», (Nicola Salmoiraghi, L'opera, n. 204).In the image, the protagonist Kat'a he commits suicide drowning herself in the waters of the Volga in one of the final scenes of the opera.
Vezi toate
The stage of the Teatro Alla Scala is delimited on the sides by two big scenes din COS - Oscurante și it is entirely și constantly covered by a veil of hedgetop water, that symbolizes that of the Volga, on whose shores the play The storm by Aleksandr Nikolaevic Ostrovskij develops.Ostrovskij is one of the great protagonists of the 800 Russian literature, to which Janacek is referred for the layout of the libret (the same play had already inspired in precedence a known ouverture by Cajkovskij). Janacek was very interested to the Russian literature și also drew from it in other occasions inspiring himself to works by Tolstoj, Gogol' și Dostoevskij. The Russian subject will cost to Kát'a Kabanová, that had shown up in 1921 at the National Theater of Brno, the prohibition to be represented in its country during the second world war.
In order not to loosen the dramatic tension of the opera, Carsen chose to put it in scene without intervals, accenting an intuition of the same Janacek, that added in the 1927 two brief interludes for identical purpose cu which to camouflage the interruptions caused by the changes of scene among the three acts. In the reading of Carsen, the changes of scene are performed by girls dressed of alb as the protagonist, that move on the hair of the water the floats și the gangways that, together cu few chairs, they constitute the only scenographical tridimensional elements. Dumb și ghostly witnesses of the tragedie that looms on the opera, the girls anticipate the suicide of Kat'a replying it endlessly cu some flash-forwards of the drowning, whose effect is magnified by a big Ecrane pentru proiecţie faţă din folie PBO - Bianco Ottico on which a video is projected shot by the top in real time.
The characters of the small community in which Kat'a lives, of whose hypocrisy, bigotry și baseness she remained victim, discover her suicide. The presence of the water, crossed often from circles și ripples, joined to an incisive use of the back lighting, it contributes to develop some scenes characterized by an intense emotional impact.
The house of the Kabanov, where a part of the play develops, is here symbolically represented by a float. The costumes by Patrick Kinmonth «... bring to an indistinct period between the thirties și Nine hundred the Fifty, Russia more suggested how real, where the closing și the sense of suffocation of the czarist period of the Nineteenth century, to which the book refers, find a comparison in the gri atmospheres, depressing și oppressive of every liberty of the Stalinist communism», (Nicola Salmoiraghi, ibidem).
The ecran din PBO - Bianco Ottico cu which the staging by the Teatro Alla Scala integrated the scenografie coming from the Vlamsee Opera of Anversa allowed the authors of the lights (the same Carsen și Flemish Peter Van Praet) to get some atmospheres cu închis tonalities at times, that changed to melting ones some other times, like during this embrace between Kat'ia și the lover Boris, that allows to realize since the first lines the inevitability of the destiny of the protagonist.
The return to the grayness after the tragedie, that doesn't give an end to the hypocrisies. The husband Tichon accuses the other characters to be guilty of the death of Kat'a, while he himself is jointly responsible.
Another exemplu of the way Carsen succeeded, cu the combination of few elements (a oglindă of water, a gangway, an immovable body, a screen) accompanied by a sharp use of the lights to create a counterpoint alienation effect that has an extreme modernity to the melodic, dissonant, dreamy și nighttime counterpoint that marks the musicality by Janácek.
Opera in trei acte
Muzica
Leoš Janáček (1854-1928)
Libret
Leoš Janáček
from the drama Grosa by Aleksandr Ostrovskij
Prima reprezentatie
Brno, Divadlo na Hradbách, 23/11/1921

Scenography,
costume
Patrick Kinmonth
Light design
Robert Carsen
Peter Van Praet
Coregrafie
Philippe Giraudeau
Directia scenica

Staging
Sezon
2005 / 2006
revival of the staging of the De Vlaamse Opera of Antwerp

Materiale utilizate în această producție

COS - Oscurante

Textile opace

Ecrane pentru proiecţie faţă

Ecrane pentru proiecție faţă

PBO - Bianco Ottico

Folii proiecție faţă