Recently we were talking about opera The sound of a real night Benjamin Britten with the theme of his performance at the Teatro de la Maestranza de Sevilla. Today we will return to this masterpiece with the subject of its presentation at the Teatro Real, to whose script it has been used for 20 years under the hand of Pier Luigi Pizzi, who was also a musical collaborator of Ion Marino.
Events are scheduled for March 10, 12, 14, 17, 20 and 22 and will run in a musical by Ivor Bolton, the composer’s music specialist. The stage is Deborah Warner territoryfrom there we see the spectacular production of two more big titles sold by the same hand, Peter Grimes and Billy Budd, so we are reasonably in anticipation.
Britten’s vision of this Shakespearean fruit establishes a play between innocence and experience, morality and immorality, belief and reality. Optics that are undoubtedly more magical than the optics of a dramatist: “I tried to put into practice a concrete concept of the work that could also be expressed in words,” said the composer. “Legends are very different from the little innocent men who appear in Shakespeare’s works. They are, after all, the guardians of Titania: they keep the marching music strictly. Just like the real world, the spirit can accidentally contain as much good as evil. Puck He is very different from everyone else: completely amoral and innocent without embargo.”
All served with huge musical resonance and varied emphasis set in a panoramic view, in the parallelism of different actions, which corresponds to an agile, kaleidoscopic and coloristic scene that mixes and combines distinctive and sometimes useful plans, which expert Deborah Warner approaches with authority and knowledge métier.
She is a veteran in these leagues and has very clear thoughts. For her, both Shakespeare and Britten play with the idea of four different worlds that intermingle and shock: The King of the Gods, The Lovers, The Arts, and The Court. Moreover, it is a world of dreams and dreams. Part of the satisfaction and desire to create a stage production A work of a work lies in finding a visual language for all these worlds. The element that supports everything is the forest“.
“The goal is to create a visual world that does not interfere with the main magic: words and music” Deborah Warner
A logical and appropriate plan that will allow us to experience unexpected scents. For Warner, “the forest is above all, in the tradition of the Isabelline theatre, a script, an ’empty space’ as defined by Peter Brook.” In the era of Isabelline O de Madeira, the theater space, combined with the language of Shakespeare, contained all our imaginations and all possibilities. Between 1590 and 1611, the Madeira platform was rebuilt in Magic Fields, France. forest. Shakespeare forever marked the development of theater. This is his legacy and this is his genius.”
That is: set the action in pursuit of the viewer’s imagination; on complicity, because Britten “took over this tradition and can play in a similar way, offers exciting different musical worlds and occasionally – happily – fusionandolo and haciéndolos collide. We, the playwright and the composer, realize the work about the merging of the fantastic and the realistic. Our goal is to create a visually captivating world that doesn’t detract from the main magic: words and music.”
Una escena de la versión de ‘Sueño de una noche de verano’ de Deborah Warner. Foto: Sergio del Real
Y para ella no hay ningún problema al tener que combinar distintas acciones. “No estamos ante una narración que sitúe a una ópera dentro de otra ópera, sino más bien ante una obra de teatro dentro de una ópera”.
Estamos ante una dramaturgia “tan rica e inteligente como la que se encuentra en el corazón de todas las decisiones musicales de Britten. No diría que sea una obra particularmente difícil para el público. Inspiradora y emocionante, sí”.
The time in which the action takes place is always nuclear, sometimes explanatory, sometimes not. We know that in the montages of our days, it is important that everything transitions to the one we live in or to another future. In this production, the time location will vary according to circumstances: “For a while we were here and now – lovers -; we were in Elizabethan England – Oberon and Titania -; then we turned to invention – the world of our dreams -; and it was enough to go to some intermediate place without catching even more things…”.
To serve and illustrate this operatic project – which is and is of great importance, the new production of the Teatro Real next to the Royal Opera House and the Maggio Musicale Fiorentino – is covered by a very large department ad hoc supervision by the contractor Iestyn Davies (Oberon), I know in the square, is very musical and has a very strong soprano voice. Titania es Lyd Redpatha delicate lyric soprano, more than that. Clear and distinctive tone.
Among the many names of notable comets, we must mention two baritones: Simon Keenlyside (Bottom), very well established and present at Real on various occasions, and Jacques Imbrallo (Demetrius), who made such a good impression on us in Billy Budd. Nínún español, no professional director of the choir niños de la ORCAM: Ana González.
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