FULL ORFEO ED EURIDICE Documentary Brescia 1995 Bernadette Manca di Nissa, Maria José Trullu, Carmen Serrano

Information on the Performance

• Work Title: Orfeo ed Euridice or French: Orphée et Eurydice  
• Composer: Gluck Christoph Willibald  
• Libretto: Ranieri de' Calzabigi    Libretto Text, Libretto Index
• Venue & Opera Company: Teatro Grande, Brescia, Italy  
• Recorded: November 24, 1995
• Type: Staged Opera Live
• Singers: Bernadette Manca di Nissa, Maria José Trullu, Carmen Serrano, Rita Cammarano, Anna Chierichetti
• Conductor: Bruno Moretti  
• Orchestra: Pomeriggi Musicali  
• Chorus Master: Valentino Metti  
• Stage Director: Ivan Stefanutti  
• Stage Designer: Ivan Stefanutti  
• Costume Designer: Ivan Stefanutti  

Information about the Recording

• Published by: Archivio Lorenzo Arruga, Tele+3  
• Date Published: 2014  
• Format: Broadcast
• Quality Video: 3 Audio:3
• Subtitles: nosubs  
• Video Recording from: YouTube     FULL VIDEO
•  

ADDITIONAL INFORMATION ON THIS PERFORMANCE

Orpheus and Eurydice, theatrical action by Raniero de’ Calzabigi, music by Christoph Willibald GLUCK. Brescia Teatro Grande 24/11/1995.
Show produced by the As. There. Co. of Milan in the 1995 season, with the winning students of the Competition, but in this case, entrusting the particularly demanding role of Orpheus to the specialist Bernadette Manca di Nissa, a leading example in the preparation process of young people, and progressively inserting the debutante in the performances Maria José Trullu. It happens in this performance of Orfeo, which has already been staged at the Ponchielli Theater in Cremona (18, 19, 22 November) and now moves to the Teatro Grande in Brescia (24, 25, 26), waiting to conclude the season in Sassari.
For the occasion, Lorenzo Arruga came with the crew to do interviews and filming for Tele+3, which then will not broadcast the event because in the meantime Arruga’s relationship with the Internet is interrupted. The video combines two moments. We are in Brescia for the first performance of Orfeo at the Teatro Grande. It’s the day of a theater that wakes up, the wait exploring the wonderful spaces of the stage, the enchantment of the adjacent room, the Ridotto, which already puts you in almost direct communication with the myth; it was the eighteenth-century room of the Accademia degli Erranti, with an architectural loggia structure by the architect Antonio Marchetti and ornamental decoration by Francesco Battaglioli (the ceiling with the baroque sky and the Triumph of Apollo in the centre) and, in the high loggias, the trompe l’oeuvre depictions ‘oeil of eighteenth-century social life attributed to Francesco Zugno. Among so much wonder, in the great hall of the Theater rebuilt (since 1809) by the architect Luigi Canonica, with decorations by Girolamo Magnani in the mid-century and the vault frescoed by Campini, Gluck’s Orpheus will soon resound carried by very young voices. But to introduce it, the small troupe had already gone to Cremona for the dress rehearsal at Ponchiellil (17/11) and Maria Elena Mexia interviewed the magnificent protagonist Bernadette, a profound artist and light-hearted anti-diva, and spies on her for a moment on stage from the wings. The film returns to the wait in Brescia, tells the story of the work through the preparations, meeting all the categories (artists and workers) who participate. He follows the rhythms of the theater: announcement, signals, bell, until entering the sacred space of the stage, filming the choir and artists in action from the prompter’s box. The narrative thread punctuates the acts, the story respects the rhythm of the intervals, even if for the third act it will insert footage and interviews filmed in Cremona, reflecting the alternation of young artists (the two Euridicis, the two Amores) that characterizes the production. In Brescia Interview with the young protagonist who has independently searched for her own voice, follows the growing excitement, the orchestra teachers who warm up the instrument, male and female dancers clinging to the first foothold to loosen up, try the figuration again in a growing buzz The rhythms of the theatre. meetings with the choir, stagehands, extras, seamstresses. The narrative thread punctuates the acts, the story. The third act takes us back to the filming of Cremona: the two Eurydices that the As. There. Co. alternates: the Spanish Carmen Serrano (Brescia), and Rita Cammarano (Cremona), Amore who in Cremona is Serrano and in Brescia (we glimpse her) Anna Menichetti. Director Ivan Stefanutti caught on the fly. And finally on stage.
Fragments, a rush of emotions spied from the wings because the objective of the video was not to film the show but to breathe the anticipation, the fervor, the excitement that sets it in motion.