Filideis opera “The Name of the Rose” on the Milan Scala | EUROtoday

In the troubles which were unfold since Corona pandemic, it takes a take a look at falling variety of guests to the opera levels when the Milan Teatro Alla Scala in co-production with the Opéra National in Paris orders a brand new work and might promote a offered out home two weeks earlier than the premiere for your entire collection of 5 performances.

The success report applies to the just about three -hour two -act “Il Nome della Rosa” by Francesco Filidei. The virtually fifty-year-old, much-funded and awarded composer, pupils from Salvatore Sciarrino, is ready to look outdoors the field of the brand new music scene and, if crucial, additionally specific itself in a less complicated music language. His in depth oeuvre contains 4 stage works, the final one got here out in 2019 on the Paris Opéra-Comique. So the soar to an opera home just like the Scala was solely a matter of time. The manufacturing, which was thought-about on the premiere with nice applause, has a sign impact for this system coverage of the historically oriented giant music levels, as a result of it proves that along with Giuseppe Verdi, Richard Strauss and Giacomo Puccini, up to date work additionally finds an viewers.

In the case of Filidei, the full of life preliminary curiosity was undoubtedly additionally because of the work title, which instantly triggered excessive expectations. “Il Nome della Rosa”, Umberto Eco’s sensible medieval thriller from 1980, printed in German underneath the title “The Name of the Rose”, remains to be successful, even after 4 and a half many years and world gross sales figures within the double -digit million vary, its advertising potential.

After filming with Sean Connery (by the way in which, many settings within the Eberbach monastery within the Rheingau), numerous audio variations and numerous scientific work. The plan of a musical -dramatic implementation of the cleverly constructed narrative, bridging by intertextual references, aroused softly skepticism, however on the finish of the day it was clear: it labored. From the start, the scene lies catastrophe, the APOCALYPSE is haunted – symbols of the upcoming revelations within the monastery crammed with murderous secrets and techniques. The giant -scale, grey tones stored by Paolo Fantin with the labyrinth of gauze curls which can be floating over the heads by the sunshine (Fabio Barretin) creates the proper environment for the uncanny occasion, the costumes and monster masks designed by Carla Teti type the colour counterpoint.

The libretto, written by the composer and the thinker Stefano Busellato in cooperation with Hannah Dübgen and Carlo Pernigotti, adheres to Eco’s template. It takes over the formal division in seven days and gives a effectively -dose choice of dialogues, theological excursions, Latin deflections and dramatic highlights. The inevitable textual content burden is thus divided from a notion -friendly method, and the place the speech doesn’t wish to finish, Damiano Michieletto’s creative director will step in with every kind of extra campaigns, spatial corridors and excessive -captured brochures.

The music captures the language violence of the template with an intensive orchestra line-up with an enormous contingent of affect and noise devices. What seems to be like impending materials battle at first look seems to be quite a lot of means and musical language strategies which can be very helpful when listening.

The spectrum ranges from the identical perspective within the method of musical comedian to comfy ghost practice results to responsorial chants and a transformed quote from Perotin’s “Sederunt Principes” (from the college of emergency-lady round 1200), which has a daunting impact in reference to an Inquisition scene. While extra flat sounds and a vocal parlando produced by pc knitting patterns within the first act, after the break, when the occasions are worsening, extra complicated, rhythmically tough configurations develop. In the nice dispute between the imperial Franciscans and papists on the pointed subject of poverty of Christ, the densely hooked -up community of voices characterizes a veritable mass brawl. All of that is held collectively by the conductor Ingo Metzmacher with admirable precision.

The workers of round two dozen male principal characters in Eco’s novel decreased Filidei in half; The spectrum of the voice registers, from the soprano to the countertenor to the Basso Profondo, fanned out the spectrum of the voice register. The director works out that too sharp character profiles; Purathy inquisition rhetoric, the stammering of deformed creatures and comedy are shut collectively.

The most difficult, brilliantly mastered roles are these of the Guglielmo da Baskerville, which Lucas Meachem offers the worthy authority of the investigation officer, and the individual of his Adlatus Adso da Melk, embodied with phenomenal agility by soprano Kate Lindsey; The choir sings the AdSO within the age of retrospect within the background. As a feminine counter -figure, the farm woman is able to the darkish males’s world of the monastery brothers. It is within the remaining image for the rose, of which solely the identify stays. The philosophical implications which can be vital for ECOS textual content should resign. They wouldn’t be opera suitable.