Eleonora Buratto as Elvira in ‘Ernani’ in Palermo all of them in the auditorium, one singer per box, and yet making a fantastically powerful ensemble. Giuseppe Di Iorio’s lighting made the entire theatre space come alive.
The next event, on March 4, was a Mozartian one, and marked the start of the programme aimed, but not exclusively so, at the young and very young. The piece in question was an operatic ‘short’, as defined by its director Gianmaria Aliverta, who devised the dramaturgy in collaboration with Alberto Mattioli: a film entitled Torneranno i bei momenti which drew on various arias from the three Mozart-Da Ponte operas to tell a story set inside the theatre itself. The footage was shot by Playmaker Produzioni, directed by Andrea Zulini and edited by Laura Schimmenti. The main auditorium, boxes, royal retiring room and the theatre’s grand stone staircase all served as locations for six singers trapped by the pandemic inside the Massimo while they waited to be called on stage. Little scenes were interwoven with such musical numbers as ‘Dove sono’, ‘Notte e giorno faticar’ and ‘Soave sia il vento’, performed by the sopranos Giulia Mazzola and Enkeleda Kamani, the baritone Alfonso Michele Ciulla and the basses Lorenzo Barbieri and Nicolò Donini. The singers’ time in what they had now come to think of as their new home was occupied with a duel, memories of past operatic success, squabbles and scenes of jealousy. Between all the notes and trills, there was a barbecue in one of the boxes, and the singing student aspiring to play Cherubino, the mezzo-soprano Elena Caccamo, came with a delivery of pizza, and sang ‘Non so più’ on the steps outside.
Omer Meir Wellber and the Massimo orchestra were mostly unseen, one single appearance in the auditorium apart, as they stitched the musical threads together, while the six performers gave appealing, accomplished performances that maintained the pace set by the director and at the same time did full justice to Mozart. sara patera
Japan Tokyo When Cimarosa died on 11 January 1801 he was widely lamented as the greatest opera composer of his age, and 20 years later his name still regularly appeared on lists of the greatest masters of modern music. Thereafter, with the rise of German Music History, his stock fell precipitously. GMH was intent on promoting Mozart as the central figure in late 18th-century opera and consciously sought to depreciate his leading rivals so as to leave him in isolation, GMH having a distinct partiality for the idea of the isolated male genius creating art for eternity, above and beyond such vulgar concerns as fashion,
Opera, May 2021