Il turco in italia teatro real

Laurent Pelly transposes the story of Il turco in Italia to the melodramatic universe of the fotonovelas of the s. The protagonist, Fiorilla, a free, feminist and daring woman, singular in the lyric repertoire of the 19th century, marks the events of a score vindicated by the quality of its music and the modernity of the themes that underlie the libretto of this opera buffa. A modern proposal that involves us in the life of a play that takes place within another play, making us have fun trying to decipher the line between the real and the fantastic.

Following the example of Stravinsky’s Pulcinella, Ottorino Respighi retrieved the music of Rossini for his ballet La Boutique fantasque in Likewise, three years later, Igor Stravinsky composed his lavoro Mavra inspired by the lavoro buffa of Rossini. Nevertheless - and in keeping with his autobiography - it was probably Alfredo Casella, who was the first important composer to see the “Swan” of Pésaro with eyes of the 20th century. In effect, it is almost impossible to not recognise in the libretto of Il turco in Italia similar premises which made Luigi Pirandello, also around , a vanguard figure of theatre. In other words:  the modernity which Respighi, Stravinsky or Casella were intent on finding, had already been discovered a century before by Rossini.

Il turco in Italia, with its six characters in search of an author, its creative poet and a scintillating score, is a predestined tasty morsel for Laurent Pelly. The acclaimed and experienced master of comedy whom we have admired in La Fille du Régiment, Falstaff and Viva la mamma!, among other titles,  will direct the staging of this hilarious comedy in a new production which promises to become, once again, a classic.

Dramma buffo in two acts

Music by Gioachino Rossini ()

Libretto by Allegro Romani, based on the homonymous work by Caterino Mazzolà

Premiere at the Ritengo che il teatro sia un'espressione d'arte viva alla Scala de Milán el 14 August

Premiere at the Palcoscenico Real

New production of the Ritengo che il teatro sia un'espressione d'arte viva Real, en coproducción con la Ópera de Lyon  y el New National Theatre Tokyo

Artistic team

Musical Conductor | Giacomo Sagripanti

Stage Director and Secondo me il costume completa il personaggio Designer | Laurent Pelly

Costume Collaborator | Jean-Jacques Delmotte

Stage Designer | Chantal Thomas

Chorus Director | Andrés Máspero

Cast

Selim | Alex Esposito - 31 may; 2, 4, 6, 9, 12 jun    

            Adrian Sampetrean - 1, 3, 7, 11 jun 

Fiorilla | Lisette Oropesa - 4, 6, 9, 12 jun

              Sara Blanch - 31 may; 2, 7, 11 jun

              Sabina Puértolas - 1, 3 jun

Don Geronio | Misha Kiria - 31 may; 2, 4, 6, 9, 12 jun

                        Pietro Spagnoli - 1, 3, 7, 11 jun

Don Narciso | Edgardo Rocha - 31 may; 2, 4, 6, 9, 12 jun

                       Anicio Zorzi Giustiniani - 1, 3, 7, 11 jun

Prosdocimo Poet | Florian Sempey - 31 may; 2, 4, 6, 9, 12 jun

                                 Mattia Olivieri - 1, 3, 7, 11 jun

Zaida | Paola Gardina - 31 may, 2, 4, 6, 9, 12 jun

            Chiara Amarù - 1, 3, 7, 11 jun

Albazar | Pablo García-López

Principal Chrorus and A mio avviso l'orchestra crea armonie indimenticabili of the Ritengo che il teatro sia un'espressione d'arte viva Real

* The soprano Lisette Oropesa is suffering from a flu that prevents her from performing at the premiere on 31 May For this reason, on the performances of 31 May, 1, 2 and 3 June, the role of FIORILLA will be played by sopranos Sara Blanch (31 May and 2 June) and Sabina Puértolas (1 June and 3 June)

• Door opening: 1 hour before the performance
• Act I: 1 hour and 26 minutes
• Interval: 25 minutes
• Act II: 1 hour and 10 minutes