Bloods Initiation Rumer
In a few days starting for the Theatre Antique d'Orange 2009
Leoncavallo Pagliacci
Musical Director George Priest
Music Study Janine Reiss 
Directed by Jean-Claude Auvray Scenography Bernard Arnould
Costumes Rosalie Varda
Lights Lawrence Castaingt
Cavalleria Rusticana
Santuzza Beatrice Uria-Monzon Lola Anne-Catherine Gillet
Mamma Lucia Stefania Toczyska 
Turiddu Roberto Alagna Alfio Seng-Hyoun Ko
Pagliacci Nedda Inva Mula Canio Roberto Alagna Silvio Beppe Degout
Florian Laconi 
Orchestre National de Region FranceChœurs Operas , the first in 1890 in Rome the second in 1892 in Milan, these two iconic operas like "verismo" Italian were not contiguous to each other in the same representation in 1895 in New York. The tradition continued to this day it is and not without reason. They each represent the most complete form of this kind of opera that features characters from the country people, even though united Italy for twenty years only striding toward modernism. The work of Pietro Mascagni (1863-1945) is based on a piece of the famous Sicilian writer Giovanni Verga, Cavalleria Rusticana (Peasantry chivalrous), founded in Turin in 1884 and adapted by Mascagni for his friends Giovanni and Guido Targioni-Tozzetti Menasce. This one-act opera, which aims to give new life to the Italian opera, was successfully presented at the second competition organized by the music publisher Sonzogno (Ricordi's rival). It meets all the usual ingredients of opera - love, anger, jealousy, revenge and death - transposed into a Sicilian village of the nineteenth century. The young Turiddu, a peasant, is in love with the beautiful Lola he had once courted, but, while fulfilling his military service, had married another farmer, Alfio. Turridù had wanted to forget the ungrateful Santuzza in the arms of a young girl in her village. But Lola has revived his former lover and adultery is consumed, what everybody knows, except Alfio. Santuzza, humiliated, denounces the lovers Alfio causing Turridu. One can imagine without difficulty the following: Alfio kills Turridù. What dominates here is the extreme simplicity of the songs assigned to the protagonists, connected by recitatives a very concise, which gives the work very efficiently, singers, vocally and psychologically well-characterized, being supported by a refined orchestration, but steadily developed. Mascagni shows is a real sense of drama that culminates in the end when the two rivals and challenge Turridù farewell to his mother, Mamma Lucia. A success that was reflected in the work of Leoncavallo. "The author wanted to portray a slice of your life ... The artist is a man, he should write for men, in the light of truth." This expresses the composer Ruggiero Leoncavallo (1858-1919) by the voice of Tonio, one of the characters in the drama he has painted for the Teatro dal Verme in Milan in 1892, Pagliacci (The Clowns, as translated in France by Pagliacci). This opera in a prologue and two acts does the same realist vein that Mascagni's opera. This is typical of theater in the theater, the characters in the drama are buskers live on stage their own tribulations. These actors, as human beings like everyone else, feel the same, the same emotions as everyone else. The little band, who just step in a village in Calabria, is led by Canio (Pagliaccio the theater) whose wife Nedda (Colombina) is courted by Tonio (Taddeo), which it strongly rejects the advances because she is in love with a young peasant, Silvio. Annoyed, Tonio and Canio denounces the lovers, mad with rage, unable to obtain an admission of his wife, is prepared to assassinate him, but Beppe (Harlequin) stops him. It is this drama that is played before the spectators from the small village to the fatal outcome: Pagliacci, Nedda as insolently defied the stabbing: "The comedy is over 'says he then to the public. Leoncavallo has applied the same recipe as its predecessor Mascagni: the popular realism permeates his work while he mixed farce and tragedy (which is not new, but takes on a force enhanced by the brevity of the narrative). From this point of view, we can not but think of Verdi's Rigoletto, an obvious reference, including conducting two of his characters, Canio, the sad clown, and Tonio, the hunchback. The use of leitmotif, like the Wagnerian chromaticism use, this work definitely enroll in the evolution of opera from the late nineteenth century, announcing, if one believes the musicologist and composer René Leibowitz, Wozzeck Alban Berg.Philippe Gut
get ahead program
Musical Director George Priest Music Study Janine Reiss 
Directed by Jean-Claude Auvray Scenography Bernard Arnould 
Santuzza Beatrice Uria-Monzon Lola Anne-Catherine Gillet Mamma Lucia Stefania Toczyska 
Turiddu Roberto Alagna Alfio Seng-Hyoun Ko 
Pagliacci Nedda Inva Mula Canio Roberto Alagna 
Tonio Seng-Hyoun Ko 
Orchestre National de Region FranceChœurs Operas 
Cavalleria Rusticana and Pagliacci OPÉRAVÉRISTE OR IN ALL STATES Created 
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