The prestigious lyrical festival of the theaters of stone, artistically directed by Francesco Costa and promoted by the Sicilian opera choir, confirms evening after evening to have the caliber of a summer review of international importance, with over 40 dates scheduled and all in the name of excellence.
Among the stages of the event stands out the ancient theater of Taormina which hosted 5 evenings – all sold out – totaled a partial of about 20,000 spectators, while the overall presence of the event – which will last until 20 September – promise to break down any record. An announced success that amplifies that of previous editions.
In particular, the extraordinary consents recorded in Taormina kicked off on 29 July with Aida, the last of the three representations of the Verdian masterpiece planned by the Festival also in the Greek theaters of Syracuse and Tindari.
Public in delirium and assieved in every order of places also on July 31 for the tribute to Hans Zimmer, a sound ride from Il Gladiatore to Inception, from Interstellar to Il King Leo, passing through dunes and the pirates of the Caribbean, up to Batman – The Dark Knight.
Another triumphal stage on August 2 with the tribute to Ennio Morricone, on the fifth anniversary of his disappearance, entrusted to the same formations – orchestral and choral – of Aida and two vocal soloists, the soprano Maria Francesca Mazzara and the pop lyric tenor Lorenzo Licitra. In turn, Corrado Neri signed the original arrangements of scores that have gone through generations, accompanying films that made the history of cinema, from New Cinema Paradiso on your head down, up to Mission and once upon a time in America.
Suggestive atmospheres enveloped Carina Burana on August 18, for the first time in Sicily in a scenic version, as Carl Orff wanted for his masterpiece. Choral work par excellence, the cantata featured the vocal sumptuousness of the Sicilian opera chorus led by Francesco Costa, in symbiotic harmony with the inspired orchestral ensemble in residence of the festival. From the podium, Maestro Giovanni Ferrauto has led with strength and sensitivity the entire sound system, also sculpted by the three soloists – the soprano Francesca Benitez, the baritone Federico Longhi, the counter -tenth Riccardo Angelo Strano – and by the chorus of white voices “colored notes” prepared by Maestro Giovanni Mundo. The score thus came to life thanks to the visionary direction of Salvo Dolce who has been able to transform architecture into a live scenographic element, while the Joculares company intertwined dance and performance of fire, under the choreographic direction of Simona Fichera.
To close the Taorminese cycle at the Antico Theater was on August 20, the unique evening that combined the Mascagnana Cavalleria Rusticana with another beloved masterpiece, Ravel’s “Bolero” on the occasion of the 150th anniversary of the birth of the composer, with the choreography, signed Isabel Ponce Rodriguez, entrusted to a Flamenco Balmenco Balmenco. To lead the orchestra of the Francesco Chilea theater of Reggio Calabria was the wand by Maestro Alfredo Salvatore Stillo. Another impeccable proof of the Sicilian lyrical choir, protagonist and character, called to give voice to the community that witnesses the tragedy.
The company, made up of over one hundred artists, lined up – in the main roles – the soprano Maria Pia Piscitelli who shaped a Santuzza, dramatic and desperate, capable of expressing its pain by spending from the vehemence to Soavi Chiaroscuri, the tenor Giuseppe Dergetano energetic and sensitive Turiddu, the baritone Carlos Almaguer who returned an authoritative Alfio, the mezzare. Treat a torn mother Lucia, and the soprano Leonora Ilieva, sensual Lola from the Argentine voice. The installation, configured in the plastic, directed by Marco Savatteri, of engaging effectiveness. A crescendo that mounts as in the Verchian source, making the quadrilateral of love and death immortal that contrasts the protagonists.
These appointments are added to the others of the imposing event, helping to consolidate their overall budget, with vast media resonance. In fact, the impact of the festival is remarkable which is confirmed not only of very high artistic profile, but at the same time. Cultural and tourist enhancement engine. Most of the events, not only those at the Antico Theater in Taormina, recorded well in advance all sold out, confirming the wide response of residents and tourists. The turnout also generated an important economic induced for the territory, with a positive return to accommodation facilities, catering and tourist services.
All this translates into a cultural meaning. On a philological level, the unprecedented critical edition of Aida represented a unique event worldwide, with a repechage of great importance. In terms of accessibility and inclusion, the simultaneous translation in the language of the Italian signs (LIS), thanks to the collaboration with the “Sicily, tourism for all” association, has also opened the doors of the work also to spectators with auditory disabilities, confirming the social vocation of the Festival. To highlight the search for a main scenic identity, in which dance, music, choreography and architecture merge, offering exciting, immersive and innovative shows. Five proposals, five sold outs. Where the response of the paying public is the real litmus map to validate the artistic offer.