Robert Wilson H T R ( S H O
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w w w S . t e h p e t s e c m e n b o E e g Publisher Maria Harman ([email protected]). Editor ART DIRECTOR Paolo Felici ([email protected]). Italy Editorial Office The Scenographer Magazine Via degli Specchi 3 - 00186 Rome - r U r 2 a Italy. Tel +39 066896420. Contributors: Bonizza Giordani Aragno, Serge Von Arx, Sergio Cosulich, Elisabetta Di Mambro, Stephanie Engeln, Giulia Mafai, Bernice Jhonson Reagon, Jacques Reynaud, Ann Christin Rommen, R p 0 Chicago U O h 0 Sue Jane Stoker, Giorgio Tabanelli, Giorgio Ursini Ursic, Robert Wilson, Christopher McCollum, A.J. Weissbard. We thank Pete Sanders for the photo GRAPHIC DESIGN Simona Criscuoli. TRANSLATION: G . S 4 e D B Mary T. Burns. ©2002 The Scenographer Magazine (All rights reserved). Periodical. Printed in the Italy. Registered with the Tribunale Civile of Rome (Italy) no. 62/2003 of 20.02.03 All artistic material published is the sole r 1 N . P c 1 2 property of the authors cited. All rights reserved. No part of this publication may be reproduced, stored in a retrevial system or transmitted, in any form or by any means, electronic, mechanical, photocopyng, recording or o 9 5 . o 5 . m 0 0 . otherwise, without the prior permission of Maria Harman Publisher. Subscription: [email protected] Internet Office: BluMeme srl. Via dei Fienili 65, 00186 Rome. Italy. Tel.+39.+06.97619556- 5 0 0 0 Fax+39.06.69293965 ([email protected]) Internet Editorial Team: Giovanni Fantoni (Coordination and project planning). Luca Frenquelli, Alessandro Cremona (web design). W F A C R r i l l a o O l e E n i b j a N a m c e m n o E r D T i G d G t Z I L W r E H v W E e o e a f N i y f d L l i s T a u r L o e n o S n l a n l i g F o i V a g i o s d t s O a c a d i i I n o n t n t h h d o l l f i v r a r i n l r d v w i t o a r o i c a m r e e s r e o s e e e e t n k o p u p r e y a a h d l p e n z n l l t l a r c i w o d e i o d s d l g d l e a t k t i i l K y c i a o h h s c t d s n o t o e r s u o y d y a t s a e e f n i p , t p r . o e t a f p t a e h e e t a h r , k l e n r l a w v e o d l d e u n a o d s l i i p e p T a y r f h e t n n x a d b a n e i e n s e s i t r i l a e a i m , c i i d a m l c k w n i i c n l c t h a t r n e h , t a o e k r , g i t h e n e n a o t h k i d t . a y d f t d d h v i , h t e e , n r l s s h , a e e s o e t b s a s b I o e o v e a p k u t r c t w u n s n a e l h r , y e i t t t a l t e m o n h e , i i n a o t n i ’ l n a t w t o e s s s e w l h i n s o d m g c d t , e e t e i h s s c r r r h s c s o n e s . u a e u i h t a d e r i c c n d o m a o d N t a t n l a e h a l g l a t v d s t p i t i b t o e p t r n n e t h h e t t d h l w e e i y i r h k o n g e e e a s s , , , , , . Madama Butterfly bY Giorgio Tabanelli Conversa tion ã|à{ YÜtÇvÉ mxyy|ÜxÄÄ| tÇw Xmono-Ådrama”|. Tjhe chorus tis kweptt to a \ t’s the day of the dress rehearsal. minimum even if in some moments it plays Madama Butterfly , directed by Franco an important role that is moving in its Zeffirelli, is about to inaugurate the 82nd intensity. The music is the most beautiful Festival Lirico organised by the Fondazione score that Puccini ever composed but Arena di Verona and which will everything is so damned concentrated upon commemorate the hundredth anniversary of her. The lengthy introduction is devoid of the first representaion. During a pause, a pathos and risks dissipating r ather than voice freezes the collaborators, friends of concentrating the public’s attention. And the maestro and the few privileged souls to then it is about breathing life into a distant witness such a memorable event. At Torre world, populated by various characters: del Lago, the sacred birthplace of Puccini, seafarers, traders, beggars and women of the latest in a long line of abominations pleasure. The hill of Nagasaki swarms with against opera has taken place: Cio-Cio-San, walk-ons and heralds the mournful destiny the drama’s leading lady, is dressed in a of Cio-Cio-San. The rocks are like a parachute. No comment. Zeffirelli knows maternal womb that dilates and opens and that for several decades opera has been from which springs its microcosm. The subject to the most extravagant and arbitrary lovers’ house suggests a pagoda with operations. Countless are the “failed windows of parchment through which the attempts” and bizarre productions: the red sun shines. The set extends on the computer, the butterfly, the switching of horizontal over the 45-metre proscenium, roles and now the parachute. The maestro’s almost to visually emphasise that the drama team - director, stage designer and costume materializes whilst devoid of any hint of designer - is the crème de la crème: Daniel verticality. The characters wear costumes Oren (Director), Fiorenza Cedolins (Cio- based on photographs by Felice Beato, a Cio-San), Francesca Franci (Suzuki), Mina mid-nineteenth century traveller, which Blum (Kate Pinkerton), Marcello Giordani provide the director with a detailed and Massimiliano Pisapia (F.B. Pinkerton), description of styles and colours Juan Pons (Sharpless). Costume designer is reinvented by an irrepressible Emi Wada, Oscar-winner in 1985 for Ran imagination. by Akira Kurosawa. The challenge so long The drama unfolds, emanating a postponed (from the mythical Callas era), progressive solitude to which only the even though rife with drawbacks and ghosts of the geishas are capable of pitfalls, is not impossible. He well knows restoring and enfolding in a veil of warm, that the way to go is the same as always: if melancholy, humanity. The genius of create and innovate whilst never straying the director, as always, has left his from accuracy. The opera is “a particular indelible mark. melodrama”, or rather, as he stresses, “a 6 7 Franco Zeffirelli, for an artist who has there is this woman from start to finish, with loving. She is a creature who has never reached the age of eighty to celebrate the idea of accompanying her along this loved because no-one has ever taught her Madama Butterfly on the hundredth difficult path whilst in some way making how to love, on the contrary, she cannot be anniversary of its composition, what her task easier. Never ask of her things that permitted to love. Puccini, however, meaning does this hold? could add to the strain on her vocal chords through the great love duet at the end of the I don’t think there is a particular significance because she has a superhuman task in the first act, allows us to witness the breaking of in this coincidence. It is more about working vocal sense in this role. Luckily, I have been this chrysalis. This creature, this puppet, this to these proportions and the responsibilty able to count on Fiorenza Cedolins, who is statuette of bisque, breaks the ovum that has rather than thinking if there are energies, if really a marvellous creature: she is good, imprisoned her and she flies towards love. there is the necessary creative lucidity in exceptionally good. Being inexperienced, she ends up getting order to support undertakings of such a burnt, her wings are scorched, and in fact magnitude, requiring such responsibility. There have been various editions of she believes in what she is told, by the man Verona, and we shall never tire of saying it, Madama Butterfly in recent years. she loves, who tells her: “I’ll marry you, you is really the symbol, the glowing hearth, the Which do you particularly remember, are the love of my life.” And a child is born.