Recensioni Cyrano de Bergerac, Tappa Sicilia!

*Fonte foto: Teatro Verdi Gorizia

· Recensione (di S.Buffa) di sulla prima di Cyrano de Bergerac a Palermo: “Il Cyrano de Bergerac di Alessandro Preziosi al Teatro Biondo”.  
Clicca qui per leggere la recensione in lingua italiana.
· Recensione (di F. Taormina) de La Repubblica, “Che bella sorpresa è Preziosi in “Cyrano”.
Clicca qui per leggere la recensione in lingua italiana.
· Recensione (di S.Crimi) di “Il Cyrano de Bergerac al Biondo”.
Clicca qui per leggere la recensione in lingua italiana.
· A review by S.Buffa from on the first of Cyrano de Bergerac in Palermo: “The Cyrano de Bergerac by Alessandro Preziosi at the Teatro Biondo.”

Cyrano de Bergerac by Alessandro Preziosi at the Teatro Biondo Stabile di Palermo staged love and friendship told on stage.
He made his debut at the Teatro Biondo Stabile di Palermo one of the most beloved stories and performed all over the world, Cyrano de Bergerac, especially heroic and dramatic comedy written in 1897 by Edmond Rostand today and masterfully directed by actor Alessandro Preziosi, even in the shoes of the protagonist of the event, staged from February 26 to March 3. One of the most popular shows in Palermo.

To accompany this courageous company director Preziosi, in which he ventured for the first time, the co-production of the Teatro Stabile d’Abruzzo – which is the same as artistic director – and Khora.teatro. Innovative elements of the show stands out the participation of eight young actors graduated from the Academy website, supported by a cast more solid and experienced.

The story consists of five acts, is a kind of post-romantic drama inspired by the historical figure of Savinien Cyrano de Bergerac, one of the most fanciful writers of the seventeenth century French and pioneer of science fiction. A complex character and eclectic suggested countless interpretations theater, but not only, even inspiring film directors and famous musicians.

How can we not be attracted to a character like that? As in not being deeply fascinated? It ‘a daredevil swordsman, Cyrano, who loves the clash in battle, especially when the opponents are falsehood and deceit, baseness and convenience. And this skilled fighter, cadet of Gascony, is also an excellent poet and irresistible that you can listen to the theater in Palermo.

A talented hero unable, however, to declare his love to the woman who has long since lost its heart: the beautiful Rossana, his cousin. This, indeed, unaware of his feelings, begs him to protect the hard life of the young cadets of which she is deeply in love, Christian de Neuvillette, a young and beautiful – she hopes – higher interpreter of love.

In full compliance with his feelings for his cousin, Cyrano agrees to follow the young, which will – in vain – to teach the art of speaking and poetry, to win in every respect the young beloved. But another man was struck by the beauty of the woman, the evil Count de Guiche, whom she repeatedly rejected.

These, angry, decides to transfer the entire company of cadets on the front deadly Arras, from which Cyrano wrote endless letters of pure love poem to Rossana, cotinuando to keep it a secret, even after the death of the young Christian, to become longtime friend.

Only after 14 years, during the last visit to the convent in which Rossana is locked, Cyrano is inadvertently brought to confess his love and kept secret for years, that he had blown into the heart of a young boy – whose only gift was the beauty – words of love and poetry for that woman so much desired, remaining in the shadows. But confession comes, alas, too late.

Irreverent, funny, amazing, poignant interpretation of Alessandro Preziosi. In a word, exciting. The cast is perfect fit for a work so well known and appreciated by different audiences of the world and time, but is inevitably on him in the lead role, that the attention and focus more pathos.

Nothing but a man of fiction. The passion of this man oozes from every pore, pops out from those costumes, out of the hat to that trick. The interpretation of Precious is undoubtedly the result of study and effort with which it is perfectly able to get to every single spectator his character, wanted the background of an overwhelming poetic dimension of the text, able to charm anyone, not just the heart the woman whose love you are willing to die.

A character, to Cyrano, romantic and at times tragic hero made by its monumental heritage sentimental, which makes it brave but also deeply generous, bad – because of that nose so hated and which was to affect his life, perpetual fear of the ridicule of others – but sublime poet that uses rhymes and verses to enchant women and friends and hurt enemies.

A very modern hero, if you look more closely, which can show a reality that suits us and that is not so far away then. Topical where beauty is the quality that was the first to note, that stands out, and if the rest there is not a big problem.

A comedy inadequacy, played out on the stage of everyday life, a magmatic chaos from which come out of the many forms in which Pirandello we only appeal continuously. A fragmentation of the self, which we decide to survive by choosing one of the many perspectives and interpretations of what the complex could be.

Interpretation amazing part of all the actors who have done the show, one of the most popular events on Palermo.

To bring out the bully in a clear manner the modernity of a similar character are, in addition to changing voices and expressions of Precious, even the music scene, with attention at the show by Andrea Parri, that power, the scope of a dramatic gesture or verses of Cyrano, now the suspense of certain scenes, made at the highest levels of climax especially thanks to the charming recitative thickness of the actors, often caught in the stillness of plastic poses the maximum coordination and simplicity.
One of the theater of Palermo’s most fascinating moment, resting his solid foundation on the particular story of a hero through the unfolding of the two feelings for excellence, love and friendship. But which one chooses to give priority to Cyrano?

· A review by F. Taormina from La Repubblica, “What a nice surprise is Preziosi in Cyrano “.

After a long tour has arrived finally at the Teatro Biondo “Cyrano de Bergerac” by Rostand with Alessandro Preziosi. It must be said at once that it is a pleasant surprise. Precious is a worthy heir to the great tradition of what has been the Stable Aquila, Abruzzo Stable today, the actor directs. The show, co-produced by Khora-theater is pleasant, rhythmic, supple and youthful, and the applause at the end of the cast called four times to the fore.

For the first time Cyrano does not have a fake nose, Preziosi emphasizes the fragility of the hero is certainly not in a physical defect, but in his inability to compete with the feminine and with feelings. And ‘certainly a Gascon, always ready to Menara sword, but has no awareness of its charm. Fragility typically youth that makes this reading very modern masterpiece. It ‘true that when Precious says, “Look at me and tell me what hope do I have?”, It is not credible, he who is of great looks, but the challenge is this: to interpret the’ opposite of itself without any other help if not the word, a script difficult for even the most experienced actors and Preziosi than with agility.

The scene of Andrea Taddei is very flexible and easily transforms into a dive, the battlefield, the convent with the slightest change, but in any case it is a big production that pays tribute to the traditions and customs of Alessandro Lai, and beautiful lights Valerio Tiberi, winking to the great Baroque paintings, and original music by Andrea Parri.

The director is the same Preziosi and balance well the poetry of the text and its vis comic, but it is clear the valuable contribution and the artistic collaboration of Nikolai Karpov, who worked on the stage movements. As the beautiful and naive Rossana, Veronica Visentin, good and credible, alongside Precious and eight young actors from the Academy website. But out of the hall of the theater Preziosi has prepared another surprise, not least for his fans, the Adricesta Association, of which he is a witness, sells gadgets to raise funds to buy computers for children in isolation hospital, admitted to cleanrooms. At Biondo until Sunday.

· A review by S.Crimi from “The Cyrano de Bergerac to Blonde.”

(1 March 2013)Great success Tuesday, February 26th for the premiere of “Cyrano de Bergerac” at the Theater Biondo Stabile of Palermo. The famous comedy theater, published for the first time by the French playwright Edmond Rostand in 1897 and since then translated, adapted and interpreted countless times, it is coated on Tuesday night with a new light under the artistic direction of Alessandro Preziosi. A production Khora Theatre and Teatro Stabile di Abruzzo see the same Preziosi also involved as an actor.

One approaches the representation wondering how will the “beautiful” Elisa di Rivombrosa, a veteran television and film awards success, to interpret the role of the cadet of Gascony remembered for his brazen skill as a swordsman and poet, but also for deformity of the nose that makes him feel inadequate to express his love for the young cousin Rossana.

Actor certainly solid theater school, but known to the public for participation in the most successful fiction and film for the small and big screen, Precious does not seem, in fact, totally lacking in charm.

One wonders, going between the walls of the elegant blonde, how will he, “beautiful”, to be credible in these difficult and unlikely guise of “ugly”.

However convince Preziosi.

Convinces his decision to free the character from the more conventional and grotesque, giving a false noses and every theatrical trick, refraining from the tricks of make-up and causing the nose, stripped of its factual nature, end up staying mere symbol. Persuade as the appearance gives way to the “word” and the theatrical gestures and shows that he knows well defend the cause of the “fine talk” of the character, making it one with the vocal versatility and expressive power of an actor. This can be seen already in a few lines from the beginning of the play Cyrano when, standing on a stage prepared on stage, in a scene of strong meta-theatricality, responds to those who deride the size of his nose emphasizing the low sophistication of ‘verbal attack and giving rise to an immediate demonstration of all the offenses that could have been ask to himself, “if you only had a little ‘spirit and letter’ a monologue excited by sudden changes in vocal timbre, a real review of registers, from the comic ironic, since the tragic farce.

The dramatic charge of the Precious grows hand in hand with the events staged, as you enter the core of the work, to the point that you forget the second part of its beauty and you get to see only Cyrano, the his irreverence towards the most, his trembling before the woman he loved, now bold and arrogant moves from absolute ruler of the scene, now troubled, shy and full of tics plays with her hair, change walk and wipes the sweat on his face.

Great tribute to young actors Links Academy in Rome, moving with great freedom and supporting the scene in a masterly manner the protagonist, they can show that “young” is by no means synonymous with “inexperienced” crossroads of beats and bodies, movements that sometimes buy the flavor of a well-articulated dance, where you can see the contribution of Nikolai Karpov said in the poster.

Excellent choice to entrust the role of the Danish Christian Benjamin Stender: his talk with some damage Italian diction and accentuation, instead of being a flaw, it ends up making even more realistic aphasia Cadet, the inability to give voice to his love. To him, in vain before he died under enemy fire, tries to convince Cyrano to expose the charade and reveal everything to Rossana, was sold one of the most significant lines of all the drama, which includes the profound meaning: “I want to be loved for myself. ” It is Christian, and Cyrano, in this story, revisiting the work to give voice in an obvious desire that dwells in every human heart, in which the public will recognize: to be loved for who you are, with all the their virtues and shortcomings.

Sorry a bit ‘as a successful test of acting the decision to reduce the prosodicità text, the depletion of assonance and alliteration. Although the result of a desired operation and expressly declared – in the director’s note reads, in fact, that the adaptation of the text and in their translation has “sought to meld the prose and poetry relegating the Alexandrine verse to a coy game» – adaptation to a natural language and speech without the speech of Cyrano one of his best-known features and the viewer soon comes to the conclusion that some more rhyme would not have failed.

Sounds a bit ‘affected, then, to the audience the choice of costumes. Alessandro Lai, who oversaw the preparation, he certainly wanted to propose the dresses vintage giving greatness and nobility to the value of the cadets, but the big plumed hats, sumptuous robes and soft white shirts from swordsmen, mannered and perhaps a bit ‘too artifacts end up clashing with the scene well-designed by Andrea Taddei, dry and geometrically distributed on two levels, in which the movement is devoted only a handful of low structures’ support and stairs practicable.

Are these two considerations absolutely incapable of reducing the beauty of a well cared for and representation of high artistic profile.
Replicates at the Teatro Biondo Stabile di Palermo until March 3, 2013.



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