Peter Brook in Milan "A Magic Flute by Flute Magic WA Mozart.
The director and playwright in London in the past he has experimented with staging the opera Carmen and Don Giovanni, bringing its work a bit all over the world.
Wonderful as always, Peter Brook, also this time, modernized the libretto, as he himself says, "... released by the accumulation of all the conventions imposed over the years."
In this work, the actors - singers, musically accompanied only by piano played by two musicians who alternate depending on the evening.
The author goes on to say: "The idea of \u200b\u200bthis Flute is to ensure that the singers - young singers - to proceed in a natural way, and heard live in the conduct of the plot, without the imposition of films, videos or scenes that run ..."; true! The young singers are moving taking up all the space stage, far from packaged in heavy clothing or balanced on structures as often happens in opera. The set (as always in the shows of Brook) is essential, long movable reeds and create alternate scenes, lights, big stars of this show, create and change the settings.
on stage two old actors of the company and William Nadylam Abdou Ouologuem.
Last night the excitement for me was very strong, especially to see that, if led by legendary masters, young singers, actors, artists can astonish and engage public, can captivate the spirit of those who listen, those who observe them. Rarely
opera was so light and flowing, the situations are rarely so clear in spite of the rehabilitation work on the libretto.
All this wonder, perhaps, is the fact that it is a work of Peter Brook, or because the show was produced by (set designers, costume designers, choreographers, teachers of singing ...) great professionals, or even because the Mozart's music, now as then is able to sublimate the individual event.
MOZART makes us feel less desperate. "The world around us today is in despair. If we rely on the guidance of Mozart, including one who had the most mysterious and secret experiences of human beings, works like the Magic Flute allow us to place ourselves in front of life. Neither Mozart nor Schikaneder wanted to compose a didactic, which claimed to embody a philosophical idea and presenting it to the public: the music speaks of something that today can be traced down the street, or unfortunately, in the contemporary arts. It 's something that we can see only through the voice of Mozart, in this work, shows us how we can move beyond despair Ritov & a little less pessimistic. "
(from the interview with Peter Brook by ART at the debut of a magic flute, November 2010)
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