{"id":15208,"date":"2022-06-17T15:43:33","date_gmt":"2022-06-17T13:43:33","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/spettacolo\/beatrice-et-benedict\/"},"modified":"2023-05-04T12:24:59","modified_gmt":"2023-05-04T10:24:59","slug":"beatrice-et-benedict","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/beatrice-et-benedict\/","title":{"rendered":"B\u00e9atrice et B\u00e9n\u00e9dict"},"content":{"rendered":"\n

Op\u00e9ra-comique in two acts<\/em>Music by Hector BerliozLibretto by Hector Berlioz, from Much Ado About Nothing<\/em> by William Shakespeare__________________________<\/p>\n\n

PLAYBILL<\/h3>\n\n

Don Pedro <\/em>Nicola Ulivieri<\/strong>Claudio <\/em>Yoann Dubruque<\/strong>B\u00e9n\u00e9dict <\/strong><\/em>Julien Behr\/Giorgio Misseri (29, 5)<\/strong>L\u00e9onato<\/em> G\u00e9rald Robert-Tissot<\/strong>H\u00e9ro <\/em>Benedetta Torre\/Francesca Benitez (29, 4, 5, 6)<\/strong>B\u00e9atrice <\/em>Cecilia Molinari\/Sofia Koberidze (29, 5)<\/strong>Ursule<\/em> Eve-Maud Hubeaux\/Gaia Petrone (29, 5)<\/strong>Somarone<\/em> Ivan Thirion<\/strong><\/p>\n\n

Mimi: <\/em>Amedeo Podda<\/strong> (chimpanzee), Alessandro Percuoco<\/strong> (Adam), Miryam Tom\u00e8<\/strong> (Eve), Simone Campisi<\/strong>, Fabrizio Carli<\/strong>, Luca De Rinaldo<\/strong>, Humberto Jimenez Rios<\/strong><\/p>\n\n

<\/p>\n\n

<\/p>\n\n

Conductor and orchestrator Donato Renzetti<\/strong>Director Damiano Michieletto <\/strong> Scenic designer Paolo Fantin<\/strong>Costume designer Agostino Cavalca<\/strong>Coreography Chiara Vecchi<\/strong>Lighting design Alessandro Carletti<\/strong><\/p>\n\n

New staging by Op\u00e9ra de Lyon<\/strong>in collaboration with Fondazione Teatro Carlo Felice di Genova<\/strong>National premiere<\/em><\/p>\n\n

Orchestra, chorus and Technicians of Opera Carlo Felice Genova<\/strong>Claudio Marino Moretti<\/strong>, Chorusmaster<\/p>\n\n

<\/p>\n\n

Scenic staging director Luciano Novelli<\/strong>Stage music director Paloma Brito<\/strong>Hall masters Sirio Restani<\/strong>, Antonella Poli<\/strong>Stage masters Andrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong>other Choir Master Patrizia Priarone<\/strong>Master to the lights Silvia Gasperini<\/strong>Master to supertitles Simone Giusto<\/strong>Music archive manager Simone Brizio<\/strong>Stage manager Alessandro Pastorino<\/strong>Deputy stage manager Giorgio Agostini<\/strong>Console handling manager Andrea Musenich<\/strong>Machinist foreman Gianni Cois<\/strong>Deputy foreman electricians Daniele Malcontenti<\/strong>Tooling foreman Tiziano Baradel<\/strong>Head of audio\/video department Walter Ivaldi<\/strong>Department head of tailoring, shoemaking, makeup and wigs Elena Pirino<\/strong>Assistant director Elisabetta Acella<\/strong>Scene assistant Gianluca Cataldo<\/strong>Costume assistant Camilla Masellis<\/strong>Make-up co-ordinator Raul Ivaldi<\/strong>Sets, props and costumes Op\u00e9ra de Lyon<\/strong>Footwear Epoch<\/strong>Wigs Mario Audello<\/strong> (Turin)Sopratitoli Prescott Studio<\/strong><\/p>\n\n

<\/p>\n\n

Opera in brief<\/strong>by Ludovica Gelpi<\/p>\n\n

B\u00e9atrice et B\u00e9n\u00e9dict<\/em> is the third and last musical theatre opera composed by Hector Berlioz. It was preceded by Benvenuto Cellini<\/em> (1834-38) and Les Troyens<\/em> (1856-58). The composition of B\u00e9atrice et B\u00e9n\u00e9dict<\/em> is set at a particular, almost emblematic moment in Berlioz’s career, who had found in musical theatre – particularly with Les Troyens<\/em> – a particularly suitable channel for the realisation of his idea of music, in which formal tradition and stylistic innovation found their place.<\/p>\n\n

The idea of setting Shakespeare’s text to music Much ado about nothing<\/em> was born very early, as Berlioz wrote to his friend Joseph d’Ortigue in a letter of 1833: ‘By the way, I am about to write a very gay Italian opera on Shakespeare’s play Molto rumore per nulla<\/em>. For this occasion, I would ask you to lend me the volume containing this text’. However, it was much later, in 1860, that Berlioz took the opportunity to compose this very gay Italian opera, B\u00e9atrice et B\u00e9n\u00e9dict<\/em>, commissioned by Edouard B\u00e9nazet for the inauguration of the new theatre in Baden-Baden.<\/p>\n\n

The early 1960s constitute, in Berlioz’s parable of ups and downs, the beginning of the definitive decline. Not yet sixty years old, but having aged very prematurely, the composer has frail health and lives constantly at the mercy of various ailments. Moreover, these were the years in which contemporaries saw fellow friend and rival Richard Wagner as the main reference for the ‘music of the future’. At the Paris Op\u00e9ra, Tannh\u00e4user<\/em> was staged to great acclaim, while Berlioz had not yet published his Troyens<\/em>.<\/p>\n\n

In light of the timing of the commissioning of B\u00e9atrice et B\u00e9n\u00e9dict<\/em>, the energy and vitality with which Berlioz devoted himself to this work is quite surprising. The composer chooses a text that he has known and loved since his youth, and decides to render it musically through the genre of op\u00e9ra-comique. The Shakespearian play needs multiple and substantial cuts in order to be transposed into the formal scheme and timeframe of the two-act op\u00e9ra-comique. The plot is thus greatly simplified, unfortunately also at the expense of the psychological depth of the characters. The focus shifts from the love of Claudio and H\u00e9ro to the relationship of hate and love of our protagonists; the absence of some secondary characters is resolved with the introduction of the chapel master Somarone, who in fact constitutes the main comic element of the story. Musically, Berlioz does not deny his imaginative talent as an orchestrator; the solutions adopted are varied and innovative, resulting in a richly nuanced and colourful ensemble. For the most part, the music remains well within the established formal canons.<\/p>\n\n

B\u00e9atrice et B\u00e9n\u00e9dict<\/em> was staged on 9 August 1862, was a unanimous success, and was revived on several occasions. It is, however, Berlioz’s last great composition, and he spends his remaining years travelling in Europe and Russia, as far as his illness permits, and is welcomed everywhere with great warmth. In 1863 he succeeded in having Les Troyens<\/em> printed at his own expense, only to see it performed again in Baden-Baden. Berlioz died on 8 March 1869. The fortunes of B\u00e9atrice et B\u00e9n\u00e9dict<\/em> have been uncertain ever since; despite the positive initial reception and the even greater notoriety achieved by Berlioz in the following years, it remains an underrepresented title even in France.<\/p>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

A light opera. Amorous skirmishes and deceptions that lead to an ending where love triumphs.<\/p>\n","protected":false},"featured_media":14050,"template":"","discipline":[202],"season":[123],"tag_spettacoli":[124,125],"class_list":["post-15208","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-beatrice-et-benedict","tag_spettacoli-hector-berlioz-teatro-carlo-felice"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15208","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show"}],"about":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/types\/show"}],"version-history":[{"count":0,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15208\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/14050"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=15208"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=15208"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=15208"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=15208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}