After the drama and ballet Opera house came to the network not only broadcasts of old productions or attempt to implement an old score by technical means of remote communication: the Opera theatre Piedmont Novara ordered and delivered online new work. “Alienated” performance-the quest for the libretto of the two authors and with the music of five composers, is designed to entertain, to provide institutional work actors and production team, and most importantly to demonstrate that in all conditions of Opera as a genre is still relevant and able to respond to the agenda. The adventures samosoglasovannye heroes watched Tatiana Belova.In the name of “Alienati” lies the catch: to translate it only one way is impossible, and this diversity reflects the story. Fragmented and alienated (alienati) the characters find themselves in isolation due to the invasion of aliens (alieni). All of them are weird, marginal, with the strong features of the psyche — is also alienati, crazy. It is not surprising that all of them need psychological help (a brilliant sarcastic bass Alphonso Antoniazzi). For him to seek a Nutritionist (mezzo-soprano Daniela Barcellona), Noble robber (bass Nicola Ulivieri), Musician (tenor Luciano Ganci), Cook (baritone Roberto de Candia), Lonely (soprano Jessica Pratt), Homewrecker (soprano Davinia Rodriguez) and her Daughter (Sofia Pizza, in fact the daughter of Rodriguez and conductor Riccardo of Frizzy). A representative composition of the performers, of course, the merit of true isolation, it also dictates the very form of the play.The show consists of short episodes of monologues and duets, the characters communicate in a variety of ways: from an old wired phone (Hello “the Human voice” by Francis Poulenc and “the Telephone” by Giancarlo Menotti) to chat. The viewer selects the character of the interlocutor and watching his adventures, to a common final to evaluate the authors need to check all the possible “branches”.The farcical nature of the “Excluded” obvious grotesque facial expressions and the large bright parts of the visual decisions (directed by Roberto Recchia, costume designer, Giuseppe Palella), as well as a parody on the lines of the libretto (story Stefano Valanzola, poems Vincenzo de vivo), on how five composers (Federico the Bichon, Alberto Cara, Christian Carrara, Federico gon, Marco Taralli) into custom ringtones scraps of scores by Mozart, Rossini, Beethoven, Verdi, and in a huge number of Puccini. In the case are instantly identifiable fragments, which is required by entertainment-morning way, but for connoisseurs of hidden surprises.Like any successful parody, “Alienated” do not make fun of, and show features skits: present a current look at the Italian Opera. The ballet is performed to a piano, so all the musicLNA drama comes down to the melody of the vocal numbers, is written based on specific artists, which is characteristic of the Opera since she was born. Not turning the score into a digest of others ‘ techniques, the authors successfully use the tightness of the Baroque world, consisting only of the characters, the fragmented narrative drama of the romantics and the ability to create poetry out of everyday things, peculiar meristem. A collective work is not stellar musicians, serving the famous artists— also an ancient technique. However, modernity may be understood of the old means of expression, if not to write them off as a priori obsolete.Forced format video performance with close attention to close-UPS brings Opera singers with chamber and vocal manner, and according to the specific weight of the text. The text is surprisingly not clichéd rhymes and melodramatic poses, though there is a traditional bass patters directories. Comic confusion and juggling words connect the formula of the old libretto and contemporary circumstances. The Central themes for discussion are the comics, TV series, tinder, pop music and the food. “Alienated” does not give to forget that Opera is as sensual pleasure, as the spiritual.Usually the right to vote on the operatic stage rarely get children who remain observers of adult tragedies, sometimes silent partners. But ten year old daughter Rozluchnytsi, having at its disposal the phone of a missing Lawyer, answering his phone. First, convincing the interlocutor that he had the wrong number, then delegate the conversation mom, finally initiating a conversation on behalf of Lawyer and posing as his Secretary. This, not interactivity, is the most important time of the writing of scores and vector of development of Opera as an art form. After all, interactivity is just a technical way to stimulate a proven mechanism of empathy, and the ability to learn new things and a willingness to meet him is available either children, or those who are willing to challenge themselves and to meet others.
