MEDEA IN CORINTO

by Giovanni Simone Mayr

tragic melodramma in two acts
libretto Felice Romani

World premiere in the work's critical edition edited by Paolo Rossini for G. Ricordi & Co, Milan

Creonte ROBERTO LORENZI
Egeo ENEA SCALA
Medea DAVINIA RODRIGUEZ
Giasone MICHAEL SPYRES 
Creusa MICHAELA MARCU
Evandro PAOLO CAUTERUCCIO
Ismene NOZOMI KATO
Tideo MARCO STEFANI


conductor Maestro FABIO LUISI
director BENEDETTO SICCA


dancers Fattoria Vittadini: CHIARA AMEGLIO, CESARE BENEDETTI

 

movers Arianna Cardone, Alessandro Colaninno, Maria Teresa Curri, Alessandra Gaeta, Sebastiano Geronimo, Veronica Lomartire, Daniele Nardelli, Davide Nardelli, Aurelia Semeraro, Marcella Semeraro, Angelica Zito, Deborah Zito
choreography RICCARDO OLIVIER


set design MARIA PAOLA DI FRANCESCO
costumes design TOMMASO LAGATTOLLA
light design MARCO GIUSTI

chorus State Filarmonica “Transilvania” of Cluj-Napoca
chorus conductor Cornel Groza


Italian International Orchestra

 

Maestro Carmen Santoro
Collaborating maestros Anastasia Gromoglasova*, Antonia Valente*  
Stage maestros Grazia Nigri, Quintiliano Palmisano 
assistant coductor Sesto Quatrini
assistant director Cecilia Ligorio
assistant costumes designer Alessio Rosati

set Scrimieri Arredamenti, Martina Franca 
costumes Atelier Brancato, Milano
wigs Audello, Torino
props Festival della Valle d’Itria Lab

 

opening night: Martina Franca - Palazzo Ducale - Thursday July 30th 2015, h 21:00

August 2nd, 4th 2015, 21:30

To play, press and hold the enter key. To stop, release the enter key.

The characters, as everyone, speak guided by the coercive prompters who are in our minds and our emotions; like us, they are inclined to say and to do things that they don't think, that they will regret and that creates misunderstandings. The main source of our psychomachy are our desires.

In the music we can find the chain of desires that wind Medea up and that bound her to the memories. Medea is anything but blinded from the hate and the thirst for revenge, anything but intentionally directed to the epilogue. Medea is forced by the ineligibility of her tragic destiny to proceed on her emotions groove and to build a path that brings her to do a concious, but not desired, infanticide.

The setting introduce a synthesis of time and space. The performance open up on a metaphorical flowered meadow where Medea will arrive: a woman lost in her memories. A woman who can control the elements, but not completely her emotions. A betrayed, disoriented and foreign woman who use her instruments to make order in her soul chaos. A woman that has magic as one of her instruments: such strength and power that can effect other people lives and neutralize them when they represent a brighting light on her dark sides.

On the meadow, now place of the memory, now garden of the palace or recollecting place of the magical ingredients of Medea the witch, will take place the happenings of the families involved in the tragedy. Parents and children will pass trough it and they will put down their souls cracks drying it out, icing it.

Magic is the basic element of this Medea. Magic is the interpretation of the other as a stranger; the fulfilment of the fear we have for the different. Magic moves the bodies that get into forms and objects in the space. Mens or beasts, manipulators or manipulated. Nucleus of language in which the singing and the movement meet to create meaning and tune the emotions.  

 

Benedetto Sicca

 

translation by: Alessandra Carlino