SAINT-SAENS - MASSENET - CILEA - VERDI
VERONICA SIMEONI mezzo-soprano
ROBERTO ARONICA tenor
NICOLETTA MEZZINI piano
Thursday 15 July | H 21.00
With a view to maximizing the protection of its public and in compliance with the indications on the safety spacing contained in the DCPM of 11 June 2020 (art.1 lett. M) The Theater makes available to spectators the following purchase options:
Whole stage 3 seats * | Whole stage 2 seats * | Single stage 1 seat | Poltronissima (stage).
It should also be noted that the positioning of the orchestra will be in the audience behind the stage; therefore stalls are not offered for sale.
The stages are offered for sale only whole and it is not possible to break their purchase. The distance of at least 1 meter is foreseen among the Poltronissime, arranged on the stage.
* The purchase of the entire stage is possible only if the occupying spectators are not subject to the obligations of interpersonal distancing.
da Samson et Dalila “En ce lieux malgré moi”
da Werther, “Oui, … c’est moi”
da Manon Lescaut, “Intermezzo”
da Adriana Lecouvreur “Acerba voluttà”, “Principessa! Finalmente!” “L’anima ho stanca”
da Aida “Già i sacerdoti adunansi…”
Camille Saint-Saëns (1835-1921), French composer, organist and pianist, made his debut as a pianist at the age of eleven. His production, among the largest in the French nineteenth century, has over 165 opus numbers distributed in every field, from theater to sacred music, from symphony to chamber music. Merit of Saint-Saëns was to reawaken in France, in an era of opera dominance, the interest in instrumental and symphonic composition.
The French composer, pianist and organist Jules Émile Frédéric Massenet (1842-1912) is best remembered for operatic productions such as Manon and Werther. Unlike other verists and naturalists, he was always alienated from the search for easy effects; instead he tried to translate with sensitivity the most intimate aspects of the bourgeois society of the time and of the literary and artistic culture that mirrored it.
Giacomo Puccini (1858-1924) can be considered as the last exponent of the great italian opera tradition; it imposes itself on the general public thanks to the intuition of the publisher Giulio Ricordi that sees in the composer from Lucca the genius in which to invest and enlisting two librettists Giuseppe Giacosa (1847-1906) and Luigi Illica (1857-1919). From this “dream team” opere such as La bohème, Tosca and Madama Butterfly are born, works that consecrate Puccini as the only heir to Verdi and that still today make millions of people rush to theaters all over the world.
The composer Francesco Cilea (1866-1950), although historically belonging to the realist school, stands out for a more collected lyricism and for the elegiac nuances that bring him closer to the French school.
He fully revealed his personality with his two most famous works, Arlesiana and Adriana Lecouvreur, a masterpiece that gave him international fame.
Giuseppe Verdi (1813-1901) is the opera composer to whom the Italian identity is most closely linked, because during his long career he has intoned the most intimate values and feelings of a fragmented country that with its music and its lyrics has learned to speak Italian.
Among the themes favored by the maestro from Busseto also the various contradictions inherent in the parent-child relationship, interpreted by masterpieces such as Rigoletto, Il Trovatore, La traviata, Simon Boccanegra, Luisa Miller.