Broadway Pilates
Posted in Uncategorized on 09/10/2011 03:11 am by admin
“Jesus Christ Superstar” enthused between memories and emotions
“Jesus Christ Superstar” – Teatro Politema – Catanzaro – 02/08/2011
(Photo with permission of Antonio Raffaele)
Broadway, Marc Hellinger Theatre, 12 October 1971. About forty years have passed since opening, “Jesus Christ Superstar”, rock opera with which the two authors Andrew Lloyd Webber and Tim Rice managed to approach the sacred to profane: the history and the passion of Christ he met the Devil’s music. Tuesday evening, with replication the next day, at the Teatro Politeama of Catanzaro, you could attend a veritable dive in the past, thanks to the representation of Director Max Romeo Piparo who, with his company, since 1995 has been present in every corner of Italy. Difficult to Piparo, considering the complexity of a work built by Webber and Rice on an original re-reading, different from what the sacred texts have always told. The courage of the two American composers, combined with high quality music and a cast composed of big names in rock music were strongest of several controversies making “Jesus Christ Superstar” a myth almost unattainable.
It is good to dispel any doubts immediately. Piparo has set up a representation that is close to perfection, and the desire to present in Italy a version in the original language, with the orchestra that plays live on a stage essential, increases the merits for his courageous choices, as well as not having wanted to translations of individual pieces, “helped” by some projections of excerpts from the sacred texts. The cast was at the height. Next to Paride Acacia, now perfect in the role of Jesus, remarkable was the interpretation of Simona Bencini that manages to give weight to the role of Mary Magdalene, in particular when, in the song “I don’t know how to love him” taking Jesus Christ in his arms declares to be in love, and Ciccio Regina, Caiaphas, and Massimiliano Giusto Hannas right.
Matteo Becucci and Mario Venuti deserve a separate chapter. Both, while maintaining high standards of execution have revealed some gaps. Becucci, in the role of Judah, in some circumstances it seemed unable to give this drama and expressive voice that the role requires. Same thing goes for Pontius Pilate/Mario Venuti that “Trial bifore Pilate”, the song in which Jesus Christ is frustrated, fails to convey the right emotional intensity. A failure to “support” background images that are more current scene as the face of Sakineh, the bodies of children dying for hunger and the faces of Falcone and Borsellino.
Despite this improvement, the entire system to survive. The Apostles and the people/dancers have shown to be at ease in the arena and on the vine, they borrowed from Norman Jewison film Edition. Considerable support for orchestra that has truly read every single note, from start “Overture” to finish ”John Nineteen: Forty-One”. From chills the cited “I don’t know how to love him” and “Gethsemane (I only want to say)” performed by Acacia, Maria and Peter in “Could we start again please?”, engaging Becucci on the track “Superstar”, sung in the audience.
There was also space for an Encore with the dancers, to “Superstar”, occupied any space of theatre, while the audience he decreed the success to a work which has aroused old memories and emotions that time has just vanished, but never deleted.
Singers in order of appearence:
Matteo Becucci, Giuda Iscariota
Paride Acacia, Gesù
Simona Bencini, Maria Maddalena
Ciccio Regina, Caifa
Massimiliano Giusto, Hannas
Cristian Ruiz, Simone Zelote / Pietro
Mario Venuti, Ponzio Pilato
Giordano Orchi, Erode
Dancers:
Erika Arosio
Giammarco Capogna
Mekdes Cortili
Lorenzo De Baggis
Ilaria De Novellis
Luca Di Nicolantonio
Eugenia Goria
Giordano Orchi
Rachele Pacifici
Andrea Palotto
Federica Panzeri
Cristian Ruiz
Carlotta Stassi
Orchestra:
Emanuele Friello, keyboards, musical director
Luciano Zanoni, keyboards
Leonardo Porcheddu, guitars
David Giacomini, guitars
Pino Saracini, bass
Stefano Falcone, drum
Mariele Ecca, horn
Andrea Di Pilla, trumpet
Scenography: Giancarlo Muselli
Costumes: Santina Ferro
Lighting design: Andrea “Bobo” Amadei
Sound: Luca Finotti
Coreography: Roberto Croce
Musical director: Emanuele Friello
Director: Massimo Romeo Piparo
About the Author
Giuseppe Panella
www.giuseppepanella.it
www.musicalnews.com
Ballet Austin’s Butler Community School
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