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La Bohème: quando la lirica incontra la prosa
Al teatro Vittoria, La Bohéme è un’opera perfetta per il pubblico che non predilige la lirica
La Bohème: quando la lirica incontra la prosa
Se Giacomo Puccini avesse visto questa versione della Bohème, probabilmente l’avrebbe amata esattamente come è successo a noi. Al teatro Vittoria di Roma ha debuttato un’opera fedele ai canoni lirici, ma riadattata al teatro di prosa. Così assistiamo ad una Bohème che non solo viene amata dagli amanti della lirica, ma adesso è apprezzata anche da chi la lirica non la comprende.
Eh già perché la prima cosa da osservare è la presenza di uno schermo utilizzato con la struttura dei sottotitoli, un po’ come si guardano i film in lingua sottotitolati, ma che trasmette durante lo spettacolo l‘intero libretto dell’opera lirica. Questo è un ottimo punto a favore della pièce perché anche chi ha un orecchio attento e allenato, ma non ha il classico libretto tra le mani, non riesce a seguire i dialoghi cantati dei vari personaggi. Gli attori, tutti provenienti da conservatori diversi ma con una certa esperienza alle spalle, sono una vera e propria forza per lo spettacolo e non sono solamente dei cantanti ma uniscono delle interpretazioni attoriali all’impostazione lirica. In questo modo abbiamo una vera e propria caratterizzazione completa del personaggio che non passa solamente attraverso la voce, ma arriva al pubblico anche per mezzo delle gestualità, del ballo, della mimica facciale. Impressionante il momento topico di Flavia Colagioia, sul palco Mimì, che non solo tra fuori una potenza canora da abile soprano ma assume pose di una donna sdraiata e morente tra le braccia del proprio amato – molto difficile in quanto la posizione schiaccia molto torace e diaframma e non è semplice tirare fuori il fiato e sostenerlo a lungo in quelle condizioni.
La Bohème: quando la lirica incontra la prosa
Anche la musica subisce una trasformazione. Al posto dell’orchestra completa, la produzione ha studiato una formula più snella, nella quale troviamo sul palcoscenico in un angolo, perennemente illuminato, un pianoforte a coda elegante e solenne. Ad alternarsi sulla tastiera nera e bianca ci sono Umberto Cipolla e Victoria Merkulyeva, due professionisti impressionanti che arricchiscono la scena incalzando nei momenti topici. Le dita leggere e veloci danno ritmo e dettano tempistiche agli attori sul palcoscenico che con grande abilità e doti vocali raccontano la tragica storia d’amore tra i due protagonisti.
Le scenografie, come anche il sopracitato schermo per il libretto, sono a metà tra il tradizionale palcoscenico prosalico e il tecnologico. Insieme ai costumi, ricostruiscono una Parigi degli anni ’30, regalando al pubblico un salto indietro nel tempo ma non così lontano come è la nascita della Bohème. Anche il disegno luci a cura di Daniele Manenti, è un elemento molto importante di questa opera ricostruita. Impreziosisce scene regalando tocchi magici nei cambi stagionali – la Bohème è un’opera costruita in quattro tempi, esattamente come le quattro stagioni e narra le vicende di artisti squattrinati e della tragica storia d’amore tra Mimì e Rodolfo attraversando l’anno solare – inverno e primavera, per esempio, ne sono la prova.
Uno spettacolo intramontabile che trova nella coniugazione tra nuove tecnologie e tradizione teatrale. In questo momento, quando la storia ci sta rendendo più cauti negli investimenti e meno propensi ad azzardi e nuove proposte, Altra Scena compie un nuovo miracolo e regala agli amanti del teatro una Bohème nuova e frizzante, ma soprattutto fruibile a tutti. Una chiave vincente per conquistare un nuovo pubblico e provare a riportare a teatro tutte quelle persone che ancora tentennano.
La Bohème di Giacomo Puccini
Opera in quattro quadri
Regia di Giancarlo Nicoletti
Direzione musicale: Amelia Felle
Mimì: Flavia Colagioia / Silvia Susan Rosato Franchini
Rodolfo: Alessandro Fiocchetti / Joseph Dahdah
Musetta: Giorgia Costantino/Annamaria Borelli
Marcello: Vladimir Jindra / Matteo Torcasio
Colline: Ivan Caminiti
Schaunard: Vittorio Ferlan Dellorco
Benoit: Martin Kurek
Pianista: Umberto Cipolla / Victoria Merkulyeva
Scene: Alessandro Chiti. Costumi: Vincenzo Napolitano. Disegno luci: Daniele Manenti
Produzione Altra Scena e Goldenart Production con il sostegno di Ministero della Cultura
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