Adriana Lecouvreur

[…]The four acts of the opera become four cross-sections of different eras, of muses who inspired their time, and perhaps who all walked on the boards of the same infinite stage.

It is she, the real Adriana Lecouvreur, who tells us the first chapter of the story, in a crowded backstage of the first half of the 18th century where the theatrical machine plays with artifices and candles.

In the second act we jump to the 1800s and the story is colored with more romantic tones, she is ideally a Sarah Bernhardt one of the actresses who most played the role of Adriana in the tragedy of Legouvé and Scribe;

In the third act we arrive at the 1920s where cinema forcefully enters the society of the time and feelings are filtered by a camera; there are many inspiring muses of that period from Yvonne Printemps, protagonist of one of the first silent films inspired by Lecouvreur, to Greta Garbo or Loie Fuller capable of creations painted with dance in the space of the theater scene

Finally in the last chapter we arrive at the 70s of a Paris dominated by the Nouvelle Vague, a sort of intimate diary of a new but restless generation where our protagonist, who could be inspired by Anna Karina or Catherine Deneuve, confronts herself and with the image that the world has of her as in a Jean-Luc Godard film and in this empty space she finally finds her true essence.

Rosetta Cucchi