Antoniozzi Alfonso and his criticism to the world of Italian opera Dear SINGERS mica but will not be your fault?
Is it not true that work can be done without the scene but not without singers!
So why do the ladies who made Walchirie Scala not have refused to go around in a dark scene filled with "boxes of fruit" with great clothes with the risk of breaking a leg? Those who took Euro 5000? But the director has taken 500,000??
And sig.Baremboim Boim Boim Boim defended the culture or his salary by reading the article of the Constitution?
Then send them to their country, including those that make for a Moses to spend 2.5 million Euro! And then I have friends who have supported roles as Rodolfo, Alfredo, Almaviva, with excellent results that are forced to sell the pods for coffee machines to pull a living.
ENOUGH WITH THE COMBINATION CULTURE = TEATRO ALLA SCALA!
or any other huge cavernous caves in which billions disappear. I, the undersigned, for over six years I'm putting in my power to do "culture." I reported Cavalry Rusticana in my city after 49anni missing. I brought the film to work for three seasons to people who had never heard before. I made known to the Three Chanson Ravel's Don Quixote who never would have learned there. And I have spent BILLIONS!
This to me is to make culture, none of my audience would never scale to more than once in life but to the cinema to see the works live there take them once a month and have also digested Salome emerged satisfied without subtitles after adequate preparation to listen. Other large institutions that
OPERA. Cut all the funds and give them to small companies in the world that even in the province to know that Woman is not Pizza restaurant is the spot! The
Walchiria Scala stage with a desert but with only the singers would have been fabulous.
Friends Resist the waste, without you fail to make a c. ... fly! Joseph also serves in Traviata!
Following the declaration of Maestro Antoniozzi, published by the Cultural Day Sunday, January 9, 2011 at 10:23
Let's face it, we talk for a Once frankly even at the cost of prosecution and a fine finish peck in court.
We have taken, gnawed to the bone, they are now eaten the edible and leave the carcass. In prose as in poetry.
They came, they seized the theater, under the pretext of support for art and culture have put their men (almost always with the theater people who had nothing to do) at the head of programming and recruitment have taken anyone they wanted, they put their protected behind a table in the office, their servants to battle stations, their yes to art direction.
They have debased the professionalism present in derogation of the theater building sets and costumes to other companies, presumably eating a slice of the contracts (I have no proof, but I do not need. As Pasolini said: I am an intellectual, not a judge, is not for me to find them. The things I know because I have eyes that see and that sums up the brain).
theatrical Italian seamstresses have reduced to mere attack buttons and repairing of edges, our drivers and stagecraft to mere imperfections and finishers schiacciolatori Cantinella, stagecraft and prosper by external tailors.
allowed directors and set designers and costume designers to use their stagecraft and tailors of confidence, in some cases fucking cheerfully that some of these directors and set designers and costume designers were in shareholding companies with choices.
sets and costumes commissioned by famous Italian artists (Tomatoes, Guttuso, De Chirico ...) and then expose them once and let them rot in warehouses or giving fire to make way for new storage.
They overpaid, yes, overpaid singers. Fifty million a night for a Turandot that came to the general. Thirty million a night for a caulk that did not carry out the work. Five million a week to say a little phrase. I was there. I know.
have allowed some unscrupulous agents to do the good and the bad weather, probably in this case for personal economic self-interest, if not for mere blindness and disability management. In both cases, no excuse.
They hired porters to eight theaters in which it takes two. Ten press officers when all they need three. Twenty five accountants when all they need.
They bowed his head in the face of union demands absurd: decades of subsistence of theaters without a seat because in thirty years of restoration, when the theater was a fallback to five hundred meters from the natural site.
They signed the go-ahead to preparations millionaires who could not be written off in any way. Yes, millions. I was there. I know. They co-produced shows that immovable in any way they could be taken to another theater because you are not taking into account the technical specifications.
They looted, shrunken, cut to the bone. And now we say "arrangiatevi.
our guilt? That having been silent. Our shame? To have, as far as possible, we ate (but at least we were doing our job and obeying the laws of the market in force). Our excuse? That of having been always stray dogs, which were removed if they spoke with a kick, losing their jobs. Who has tried, like me and others like me, you know. I still remember the answer: "You are right, but keep in mind that if you insist on this point never to set foot in this theater."
And even now, do not give up. They also want to bone. Do not go away.
And we, our artists, our technicians, our directors, our drivers, we artists of the choir, our electricians, our ropes, we professors are conducting forced to seek work elsewhere or to invent another because not only does not we finance, but not invent a shred of political solution, a law that will allow us to do well and without wasting our job.
not go away. Rather than close the theaters. Rather than let them rot. But do not go away. Will not go away ever.
And now, we are afraid to speak out and form a common front. Common. Together with all those who work in theater and theater are passionate.
also continue to be afraid. Soon, there will be no reason to worry about losing their job: we have long been forced to find another. We
casino, boys, all together. Reclaim our theaters, take back our profession, take back our lives.
ALFONSO Antoniozzi
