SEMIRAMIDE Di Gaetano Rossi Musica Di Gioacchino Rossini

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SEMIRAMIDE Di Gaetano Rossi Musica Di Gioacchino Rossini SEMIRAMIDE di Gaetano Rossi Musica di Gioacchino Rossini Milano Semiramide, Regina di Babilonia Joan Sutherland TEATRO LA SCALA Arsace, comandante le armate Giulietta Simionato Assur, principe del sangue di Belo Wladimiro Ganzarolli 17 dicembre 1962 Idreno, Re dell’Indo Gianni Raimondi Azema, principessa del sangue di Belo Manuele Bianchi Porro Oróo, capo dei Magi Ferruccio Mazzoli Mitrane, capitano delle guardie reali Giuseppe Bertinazzo L’ombra di Nino Antonio Zerbini Solisti delle danze Aida Accolla, Roberto Fascilla, Walter Venditti Maestro concertatore e direttore Gabriele Santini Scene Nicola Benois Costumi Enrico Job Coreografia Giulio Perugini Regia Margherita Wallmann Arsace Semiramide è l’ultima opera italiana di Rossini, composta sul libretto che Gae- Semiramide is Rossini’s last Italian opera, composed using the libretto that Gaetano tano Rossi trasse dalla tragedia di Voltaire. Fu scritta nel 1832, anno anche del- Rossi drew from Voltaire’s tragedy. It was written in 1832, which was also the year la prima rappresentazione alla Fenice di Venezia. Rossini dedicò l’opera a sua which saw the opening of Venice’s La Fenice. Rossini dedicated the work to his wife, moglie, Isabella Colbran, che ne fu la prima interprete. La suggestiva ambien- Isabella Colbran, who was the first to play the leading role.The evocative setting of tazione del soggetto è nel fastoso e lussureggiante oriente assiro-babilonese. the subject is in the oriental splendour and luxury of Assyrian Babylonia. Semiramide è l’opera del bel canto per eccellenza. L’elemento decorativo e Semiramide is an opera of “bel canto” par excellence. The decorative and quello espressivo sono inscindibili; tanto che, per Rossini quest’opera fu im- expressive elements are inseparable. Indeed, for Rossini this was a musical project and pegno musicale e non drammatico, in risposta a Beethoven, quando sostenne not a theatrical one, in answer to Beethoven, when he claimed that Italians didn’t che gli italiani non possedevano abbastanza scienza per scrivere opere serie. La have the expertise to write serious operas. Semiramide was the evidence to the Semiramide smentì quest’affermazione, fu un assunto di perfezione formale, contrary, an exercise in formal, technical and stylistic perfection. “The psychology of tecnica e stilistica.“La psicologia di Semiramide è assai complessa.Accanto al- Semiramis is quite complex. Alongside the sensual woman in love with Arsace la donna sensuale e innamorata di Arsace, di cui ignora l’identità, vi è l’assas- without knowing who he really is, there is the woman who murders her husband and sina dello sposo, la quale odia e teme il complice,Assur, e trema inorridita al- who loathes and fears her accomplice, Assur, and trembles in terror at the apparition l’apparizione dell’ombra di Nino” (Gino Roncaglia, Ansia di rinnovamento nel- of Ninus’s ghost” (Gino Roncaglia, Ansia di rinnovamento nell’ultimo Rossini l’ultimo Rossini italiano, Programma di sala). italiano, Programme Notes). “Molto belle le scene realizzate da Nicola Benois su antichi bozzetti del San- “The set design by Nicola Benois, based on old sketches by Sanquirico and Bagnara, quirico e del Bagnara, nonché i figurini ricavati da Enrico Job da documenti is beautiful, as are Enrico Job’s costumes, which have been traced from nineteenth dell’Ottocento” (P.S., Semiramide alla Scala, Avanti!, 18 dicembre 1962). century sources” (P.S., Semiramide alla Scala,Avanti!, 18 December 1962). “Benois ricorre ai bozzetti – bellissimi fra l’altro – di Sanquirico e del Bagna- “Benois makes use of the sketches, which are beautiful, of Sanquirico and Bagnara, ra, semplificati ma non snaturati e anzi esaltati nell’esecuzione ... Una partico- simplified but not distorted - on the contrary, enhanced in their execution... Particular lare lode va pure al giovanissimo Enrico Job autore – sempre nel filologico ri- praise should also go to the young Enrico Job, author - albeit with philological respect spetto degli esemplari dell’Ottocento – di figurini ispirati talora a David, Ingres for his nineteenth century fashion plates - of costume designs inspired in turn by e Paussin, con un’armonia di colori e di panneggi perfettamente adeguata allo David, Ingres and Paussin, with a harmony of colours and drapery perfectly consonant spirito dell’opera” (Mario Monteverdi, Le scene il gusto di Benois, Corriere Lom- with the spirit of the opera” (Mario Monteverdi, Le scene il gusto di Benois, bardo, 18 dicembre 1962). Corriere Lombardo, 18 December 1962). 9.
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