Nabucco é uma das
primeiras óperas de Verdi, com
libretto de Temistocle Solera, que
conta a história do rei Nabucodonosor da Babilónia. Foi o primeiro grande êxito
do compositor, estreado durante a ocupação austríaca do norte da Itália. O
famoso coro dos escravos hebreus Va, pensiero, sull'ali dorate tornou-se
um hino do nacionalismo italiano.
Desta vez vou falar menos da ópera e mais da vivência que
tive em Tóquio.
Em relação ao espectáculo em si, diria que o “eurotrash”
chegou em força a Tóquio. A encenação do inglês Graham Vick é horrorosa. Do pior que já vi. O cenário é rico, toda
a acção se passa dentro de um moderníssimo centro comercial actual com vários
andares e escadas rolantes entre eles. Os hebreus são os sofisticados visitantes
e compradores, e os assírios um grupo de assaltantes mal vestidos com cabeças
de porco, máscaras dos “anonymous” ou outras, que tudo saqueiam e destroem. E é
assim até ao fim do espectáculo. Um nojo!
****
Nabucco,
New National Theater, Tokyo, June 2013
Nabucco is one of the first operas by Verdi, with libretto by Temistocle Solera, which tells the story of King Nabucco of Babylon. It was the first great success of the composer because it was released during the Austrian occupation of northernItaly .
The famous chorus of the Hebrew slaves Va,
pensiero, sull'ali dorate became an anthem of Italian nationalism.
This time I will talk less on the opera and more of the experience I had inTokyo .
The New National Theatre is part of the cityOpera Palace , a very recent, modern construction
of breathtaking beauty. The architecture is beautiful, the place is of a
formidable harmony with lakes interspersed with stone structures creating a
relaxing environment and a striking visual impact.
The theater is one of the many existing rooms in the complex, and has a wide magnificent and large entrance. Everything is immaculately clean and organized, the decor is sober, of unsurpassed functionality and remarkable comfort.
Immediately before the start of the performance we heard the usual warnings about the prohibition to take photographs or make recordings during the performance. But there are always interesting aspects on these warnings (on which, later on, I will write something). This time, in Japanese and in English, they also urged people not to lean forward because they disrupt the visibility of who is sitting back and inform that, in case of earthquake, we should remain seated until we were indicated a way out in safety, since the building was built with the most advanced technology against earthquakes.
The Japanese people are, perhaps, those in the world who like more to take photographs, but nobody did it within the theatre. When I tried to take some for future memory of the unforgettable moments for me during this unique experience, and for this blog, I was immediately invited not to do it, in the most polite way. Hence the lack of pictures in this post.
And I now comment on the the Japanese public. This people is the most courteous and polite I met until today! On day by day there is none that does not try to help assiduously, despite the language barrier. Just when we are inJapan we can
appreciate the dignity and respect with which they treat foreigners (and each
other). There is a significant influence of the West, especially in body image
and clothing, but the essence of oriental japsnese culture is constant and
impressive.
Nabucco is one of the first operas by Verdi, with libretto by Temistocle Solera, which tells the story of King Nabucco of Babylon. It was the first great success of the composer because it was released during the Austrian occupation of northern
This time I will talk less on the opera and more of the experience I had in
The New National Theatre is part of the city
The theater is one of the many existing rooms in the complex, and has a wide magnificent and large entrance. Everything is immaculately clean and organized, the decor is sober, of unsurpassed functionality and remarkable comfort.
Immediately before the start of the performance we heard the usual warnings about the prohibition to take photographs or make recordings during the performance. But there are always interesting aspects on these warnings (on which, later on, I will write something). This time, in Japanese and in English, they also urged people not to lean forward because they disrupt the visibility of who is sitting back and inform that, in case of earthquake, we should remain seated until we were indicated a way out in safety, since the building was built with the most advanced technology against earthquakes.
The Japanese people are, perhaps, those in the world who like more to take photographs, but nobody did it within the theatre. When I tried to take some for future memory of the unforgettable moments for me during this unique experience, and for this blog, I was immediately invited not to do it, in the most polite way. Hence the lack of pictures in this post.
And I now comment on the the Japanese public. This people is the most courteous and polite I met until today! On day by day there is none that does not try to help assiduously, despite the language barrier. Just when we are in
The feeling
of safety is absolute, and the constant characteristics of the thousands of people flowing through Tokyo are sympathy,
order, discipline and respect for others!
Regarding the performance, I would saythe that "Eurotrash" arrived in full toTokyo . The staging by English director
Graham Vick is horrible. The worst
I've seen. The scenery is
rich, the action happens inside a modern shopping mall with several floors with
escalators between them. The Hebrews are sophisticated buyers and visitors, and
the Assyrians a group of robbers dressed in evil pig heads, masks of "anonymous"
or similar. They plunder and destroy everything. And i tis so until the end of
the performance. Disgusting!
In contrast, the music was of high quality. Musical director was conductor Paolo Carignari. The Tokyo Philharmonic Orchestra was great and competent and the New National Theatre Chorus was absolutely exceptional.
Also the soloists gave outstanding interpretations. The baritone Lucio Gallo was a vocally very acceptable, very audible and expressive Nabucco. Mezzo Mariane Coretti was the best of the night as the perfidious Abigaille. The singer has a big voice and knew how to use it, always captivating in all interventions. Also the bass Konstantin Gorny was a competent Zacharia, with a very interesting timbre and remarkable bass register. The Japanese singers were excellent, especially tenor Tatsuya Higuchi as Ishmael and mezzo Taniguchi Mutsumi as Fenena. In supporting roles also were well, soprano Ando Fumiko as Anna, tenor Shingo Uchiyama as Abdallo, and bass Tsumaya Hidekazu as High Priest.
The public remained completely silent during the performance. A cough or any other noise was not heard, just the warm applause, but always only after the music ended.
Despite the abject staging, it was a night I will not forget.
****
Regarding the performance, I would saythe that "Eurotrash" arrived in full to
In contrast, the music was of high quality. Musical director was conductor Paolo Carignari. The Tokyo Philharmonic Orchestra was great and competent and the New National Theatre Chorus was absolutely exceptional.
Also the soloists gave outstanding interpretations. The baritone Lucio Gallo was a vocally very acceptable, very audible and expressive Nabucco. Mezzo Mariane Coretti was the best of the night as the perfidious Abigaille. The singer has a big voice and knew how to use it, always captivating in all interventions. Also the bass Konstantin Gorny was a competent Zacharia, with a very interesting timbre and remarkable bass register. The Japanese singers were excellent, especially tenor Tatsuya Higuchi as Ishmael and mezzo Taniguchi Mutsumi as Fenena. In supporting roles also were well, soprano Ando Fumiko as Anna, tenor Shingo Uchiyama as Abdallo, and bass Tsumaya Hidekazu as High Priest.
The public remained completely silent during the performance. A cough or any other noise was not heard, just the warm applause, but always only after the music ended.
Despite the abject staging, it was a night I will not forget.
****
Parece-me tudo magnífico em termos arquitectónicos.
ResponderEliminarQuanto à encenação, já tinha visto umas fotografias. Nem sei o que diga, caro Fanático_Um.
Tem razão Paulo, arquitectonicamente é um espaço maravilhoso.
EliminarA encenação é inenarrável. E estava em cena, em simultâneo, um Così fan tutte que, segundo me relatou um amigo que viu, ainda tinha uma encenação pior (se é que é possível, ele não viu este Nabucco).
Mais um espectáculo para ver de olhos bem fechados! (o que é uma pena em ópera).
Boa piada, dizer que havia encenação!
Eliminar