{"id":28322,"date":"2024-06-07T11:41:04","date_gmt":"2024-06-07T09:41:04","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/?post_type=show&p=28322"},"modified":"2024-12-13T17:49:20","modified_gmt":"2024-12-13T16:49:20","slug":"il-cappello-di-paglia-di-firenze","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/il-cappello-di-paglia-di-firenze\/","title":{"rendered":"Il cappello di paglia di Firenze"},"content":{"rendered":"\n
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Musical farce in four acts by Nino Rota<\/strong>, libretto by himself and Ernesta Rinaldi from the play Un chapeau de paille d’Italie<\/em> by Eug\u00e8ne Labiche and Marc Michel<\/p>\n\n

New version of the staging by the Fondazione Teatro Carlo Felice di Genova<\/strong> in collaboration with the Op\u00e9ra Royal de Wallonie-Li\u00e8ge<\/strong><\/p>\n\n

Characters and interpreters:<\/em><\/p>\n\n

Fadinard<\/em>Marco Ciaponi<\/strong><\/p>\n\n

Nonancourt<\/em>Nicola Ulivieri<\/strong><\/p>\n\n

Beaupertuis\/Emilio<\/em>Paolo Bordogna<\/strong><\/p>\n\n

Uncle Vezinet<\/em>Didier Pieri<\/strong><\/p>\n\n

Felice<\/em>Gianluca Moro<\/strong><\/p>\n\n

Achilles of Rosalba\/One guard<\/em>Blagoj Nacoski<\/strong><\/p>\n\n

A corporal of the guards<\/em>Franco Rios Castro<\/strong><\/p>\n\n

Elena<\/em>Benedetta Torre<\/strong><\/p>\n\n

Anaide<\/em>Giulia Bolcato<\/strong><\/p>\n\n

The milliner<\/em>Marika Colasanto<\/strong><\/p>\n\n

The Baroness of Champigny<\/em>Sonia Ganassi<\/strong><\/p>\n\n

Minardi<\/em>Federico Mazzucco<\/strong><\/p>\n\n

<\/div>\n\n

Concertmaster and conductorGiampaolo Bisanti<\/strong><\/p>\n\n

DirectorDamiano Michieletto<\/strong><\/p>\n\n

ScenesPaolo Fantin<\/strong><\/p>\n\n

CostumesSilvia Aymonino<\/strong><\/p>\n\n

LightingLuciano Novelli<\/strong><\/p>\n\n

Orchestra, Chorus and Technicians of the Opera Carlo Felice Genova<\/strong>Choirmaster Claudio Marino Moretti<\/strong><\/p>\n\n

<\/div>\n\n

Stage DirectorLuciano Novelli<\/strong><\/p>\n\n

Stage musical directorSimone Ori<\/strong><\/p>\n\n

Hall MastersSirio Restani<\/strong>, Antonella Poli<\/strong><\/p>\n\n

Stage MastersAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong><\/p>\n\n

other Choir MasterPatrizia Priarone<\/strong><\/p>\n\n

Lighting MasterLuca Salin<\/strong><\/p>\n\n

Master of supertitlesSimone Giusto<\/strong><\/p>\n\n

Assistant directorPaola Ornati<\/strong><\/p>\n\n

Music archive managerSimone Brizio<\/strong><\/p>\n\n

Stage directorAlessandro Pastorino<\/strong><\/p>\n\n

Deputy stage managerSumireko Inui<\/strong><\/p>\n\n

Console Handling ManagerAndrea Musenich<\/strong><\/p>\n\n

Engineer foremanGianni Cois<\/strong><\/p>\n\n

Foreman electricians\/lighting boothMarco Gerli<\/strong><\/p>\n\n

Tooling foremanTiziano Baradel<\/strong><\/p>\n\n

Head of audio\/video departmentWalter Ivaldi<\/strong><\/p>\n\n

Head of tailoring, shoemaking, make-up and wigs<\/p>\n\n

Elena Pirino<\/strong><\/p>\n\n

Make-up and hair co-ordinatorRaul Ivaldi<\/strong><\/p>\n\n

Scenes and propsFondazione Teatro Carlo Felice<\/strong><\/p>\n\n

CostumesLow Costume-Sartoria Nori-Tirelli<\/strong><\/p>\n\n

FootwearPompei<\/strong><\/p>\n\n

WigsMario Audello<\/strong><\/p>\n\n

Supertitles byEnrica Apparuti<\/strong><\/p>\n\n

<\/div>\n\n

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

Nino Rota is often associated with the many highly successful soundtracks he composed between the 1930s-when just 22 years old he composed the music for Raffaello Matarazzo\u2019s Treno popolare<\/em> -and the 1970s. Among the best known are those he made for Federico Fellini such as 8\u00bd<\/em>, Giulietta degli spiriti<\/em> and Amarcord,<\/em> or for Francis Ford Coppola (The Godfather part I<\/em> and part II<\/em>). However, his catalog also hosts a large number of compositions ranging from piano music to chamber music and again to symphonic music and eleven titles of musical theater – Il cappello di paglia di Firenze<\/em> is among the latter the most successful.The year was 1945 and in an Italy ravaged by war Rota had his compositional career underway. In the operatic field he had already produced three works, Il principe porcaro<\/em> (composed when he was only thirteen in 1925, performed posthumously in 2003), Ariodante<\/em> (1942) and Torquemada<\/em> (1943). Compared to the recent Ariodante<\/em> and Torquemada<\/em>, the composer wanted with Il cappello<\/em> realize something new, both thematically by exploring the buffo genre and by expanding his compositional language. Together with his mother Ernesta Rinaldi, an author and musician, Rota then worked on adapting the 1851 play Un chapeau de paille d\u2019Italie<\/em> by Eug\u00e8ne Labiche and Marc Michel into an opera libretto. It was a farsain five acts that was particularly fitting as a subject for an operatic transposition, already having in it many of the typical aspectsinarrative of the eighteenth-nineteenth-century opera buffa, starting with the characters: two young newlyweds in love, a father-in-law who is both laboring and opposed to their union, an unlikely pair of clandestine lovers, a jealous husband, a deaf uncle, and so on. An expedient as simple and bizarre as the need to find a straw hat from Florence becomes the ideal starting point for creating endless comic possibilities and increasingly hilarious situations. In the Rota-Rinaldi adaptation the division is into four acts, but except for a few minor changes the plot is faithful to Labiche and Michel’s original.Rhythm is a central element, a key dramaturgical and musical point. From the beginning of the narrative, the brilliant character of the opera becomes clear, the first act already proceeds briskly, Fadinard tells Uncle V\u00e9zinet about the hat incident, Anaide and Emilio arrive, then Elena and Nonancourt, and the daring \u201chunt for the hat\u201d of theprotagonist begins. The second act becomes denser with an early part in the cheerful milliner’s store and then the rowdy, farcical visit to the baroness’s palace. The third act, even more absurd, takes place at the home of the first disconsolate and then wrathful Beaupertuis ending with the whirling comings and goings in the square of the last act. And it is precisely in the play’s rhythm that its comic heart is to be found, in the continuous and increasingly frantic pulsation, in Fadinard’s gradually crazier tenacity, in the obstinacy of the wedding procession that blindly follows the protagonist, generating havoc everywhere. The rhythm of the drama is perfectly matched by that of the musical discourse, in which Rota flaunts a very rich range of disfumature. This is writing that is deeply tied to tradition on a technical level, exclusively tonal and far from the research that saw many contemporaries engaged around new compositional techniques. The \u201ctraditional premise\u201d here is the work of the eighteenth and nineteenth centuries, which Rota reinterprets and reinterprets with a bright new look, also drawing on his experience in film. In particular, the almost stereotypical characterization of the characters is exploited by the composer to create a joyful and ironic fresco of opera history, quoting through the different characters various styles from Mozart to Rossini to Donizetti.The first performance of Il cappello di paglia di Firenze<\/em> was held on April 21, 1955, ten years after it was composed. The warm reception aroused a lot of curiosity around the opera, which was also soon revived by such illustrious directors as Giorgio Strehler and Pierluigi Pizzi, becoming one of the composer’s most beloved titles and a unique example of twentieth-century opera buffa. <\/p>\n\n

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

Giampaolo Bisanti conducting Nino Rota\u2019s musical farce. Directed by Damiano Michieletto<\/p>\n","protected":false},"featured_media":31677,"template":"","discipline":[202],"season":[460],"tag_spettacoli":[365,487,271,486,485,481,488,482,489,483,480,154,158,484,490,40],"class_list":["post-28322","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-benedetta-torre","tag_spettacoli-blagoj-nacoski","tag_spettacoli-damiano-michieletto","tag_spettacoli-david-ferri-dura","tag_spettacoli-didier-pieri","tag_spettacoli-giampaolo-bisanti","tag_spettacoli-giulia-bolcato","tag_spettacoli-marco-ciaponi","tag_spettacoli-marika-colasanto","tag_spettacoli-nicola-ulivieri","tag_spettacoli-nino-rota","tag_spettacoli-opera-carlo-felice-genova","tag_spettacoli-orchestra-dellopera-carlo-felice-genova","tag_spettacoli-paolo-bordogna","tag_spettacoli-sonia-ganassi","tag_spettacoli-teatro-carlo-felice"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/28322","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\/28322\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/31677"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=28322"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=28322"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=28322"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=28322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}