Jan 112013
 

Loretta Goggi Gypsy 500x332 A new Mama Rose gets her turn in Italys first ever GypsyOn 15 Janu­ary, will wel­come a new Rose to the stage as Gyspy opens in .

Lor­etta Goggi has been a house­hold name in Italy for half a cen­tury. She made her début in tele­vi­sion as a girl and hasn’t been far from the small screen or stage since. Start­ing out as a child act­ress, she found her tal­ent for singing when she was a small girl, and later a tal­ent for mim­ick­ing. Her impres­sions, espe­cially those of Italian singing icon Mina, are replayed con­stantly on tv, from her early days in black and white, onwards. Dur­ing the 70s and 80s Goggi had sev­eral suc­cesses as a pop singer, but the stage and small screen have always been her true home.

Goggi starred in the Italian première of They’re Play­ing Our Song in 1981, was a mem­or­able Dolly Levi in 1999, and now in this new pro­duc­tion of Gyspy she will be the first Italian Rose for, amaz­ingly, the Arthur Laurents’ 1959 musical, with music by Jule Styne, lyr­ics by Stephen Sond­heim, has never been presen­ted in Italy.

The pro­du­cer, M.A.S. (Music, Arts & Show) moun­ted the ori­ginal Aus­tralian pro­duc­tion of  in Milan last sea­son, com­plete with LED-lit bus and Tim Chap­pel and Lizzy Gardiner’s Tony Award win­ning cos­tumes. This was an excep­tional invest­ment in a coun­try where a per­man­ence of more than three months is almost unheard of. Two or three weeks is the usual allot­ted period in Milan or Rome for a musical, with only a few days in the smal­ler cit­ies. Tour­ing con­sid­er­a­tions are essen­tial in Italy, so Priscilla has caused major logistic head­aches. , how­ever, is an all-Italian affair, with Stefano Gen­ov­ese dir­ect­ing, and Mat­teo Piedi’s design­ing sets and cos­tumes, and will surely be more lightweight.

But there is noth­ing light­weight about Lor­etta Goggi who has all the cre­den­tials neces­sary to dazzle in one of the most coveted roles of the Broad­way stage. She’s got no need to “get a gim­mick” for hers is genu­ine and rare talent.

Ya either got it, or ya ain’t, and she’s got it!

 

Gypsy runs at Teatro Nuovo, Milan from 15 Janu­ary to 3 February

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  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
Dec 132012
 

Titanic Il Musical @ Teatro Nuovo Milano 9 dicembre 2012 ph Roberto Finizio 4840 500x333 Italys new Titanic musical stays afloat The world has a new Titanic musical.

’s ver­sion is the work of Fed­erico Bel­lone who wrote the book, lyr­ics and music, and is also the show’s dir­ector. It is inev­it­ably deriv­at­ive with ref­er­ences to the DiCaprio/Winslett block­buster and the 1997 Broad­way Tony-winning musical. It is also unfor­tu­nate that the main theme (yes, ‘Titanic’) sounds very much like ‘As If We Never Said Good­bye’ from , and Madame Duval (the dom­in­eer­ing mother of an opera-singer on board) is very sim­ilar to Phantom of the Opera’s Madame Giry, but the inten­tions are good and the cast is strong.

It starts, very effect­ively, with Bruce Ismay, the dir­ector of the White Star Line, stand­ing behind a model of the ship, as he fends off report­ers’ ques­tions which are shouted out from amongst the audi­ence.… [con­tinue reading]

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Dec 032012
 

Cecilia Bartoli Daniel Barenboim La Scala Milan Cecilia Bartoli triumphs at La Scala amidst catcalls and boosAfter nine­teen years, ’s return to Milan’s tonight was long over­due. was the instig­ator of the event: the open­ing of the Philharmonic’s season.

An obvi­ously tense Bar­toli imme­di­ately illu­min­ated the theatre with her smile, though her voice needed a little longer to give the audi­ence what they were expect­ing. The Han­del arias went well,  Mozart’s Exultate, jubil­ate even bet­ter, and after the inter­val she was on top form with two arias. The Wil­low Song and prayer from Otello was extremely touch­ing, and with Non più mesta from Cener­entola the vocal fire­works shot in all directions.

How­ever, already dur­ing the inter­val, dark forces were at work! At La Scala there exist groups of (mostly) men, many now white-haired, who plot and plan to des­troy an opera or an artist’s per­form­ance even before enter­ing the theatre.… [con­tinue reading]

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Oct 042012
 

Teatro Nazionale Milan Stage Entertainment musicals: bringing excellence to Italy has long been plagued with a lazy approach to put­ting on music­als. Looked on as easy money makers, the artistic and fin­an­cial input is often skipped over for quicker gains. Mis­take! Audi­ences were not happy get­ting ripped off by incom­pet­ent pro­duc­tion teams provid­ing cheap imit­a­tions of Broad­way shows or Hol­ly­wood music­als. Not everything was bad, but a lot was.

That changed in 2009 when the Dutch theatre giant Stage Enter­tain­ment took over the Teatro Nazionale in . The com­pany, which boasts 30 theatres in 9 European coun­tries, restruc­tured it from the stage to the stalls at a cost of €16 mil­lion, and brought in Beauty and the Beast which was as pol­ished as any­thing in London’s West End.

Italy doesn’t have cit­ies the size of a or Lon­don.… [con­tinue reading]

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Sep 062012
 

Fracci ATM 2 A new ballet company for Italy? Romes mayor announces a project for the Italian National Ballet The Mayor of , has announced,

We are work­ing on a pro­ject with to cre­ate a National Bal­let Com­pany which can bring the Rome exper­i­ence to a national level.

The ‘Rome exper­i­ence’ was the period of ten years that Fracci spent at the helm of the capital’s bal­let company.

Ale­manno, who is by default the pres­id­ent of the board of dir­ect­ors of the Fondazione del Teatro dell’Opera, the gov­ern­ing body of the Rome Opera and Bal­let com­pan­ies, was fam­ously har­angued by Fracci in a pub­lic out­burst by the étoile in the stalls of the Rome Opera Theatre. That was two years ago dur­ing a meet­ing of  the vari­ous trade uni­ons oppos­ing eco­nomic reforms. Nerves were raw, and Fracci prod­ded the Mayor in the chest accus­ing him of refus­ing her requests for a meet­ing dur­ing the pre­vi­ous two years.… [con­tinue reading]

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Aug 242012
 

Ute Lemper Angela Merkel So does Ute Lemper approve of Angela Merkel? Nein!

Ute Lem­per is tour­ing Europe with her cab­aret pro­gramme which includes mater­ial by that most polit­ical of  theatre writers, Ber­tolt .

Lem­per her­self has always been out­spoken about her views, upset­ting much of the Ger­man estab­lish­ment along the way. The mix of her nat­ive Ger­man tongue, with almost per­fect Eng­lish and French, might have made her the European par excel­lence, yet she has chosen to make her home in .

She talked to ’s about how she views Europe from the other side of the pond.

I was always for the cre­ation of a single polit­ical body cap­able of help­ing Europe go for­ward, but I think it’s extremely dif­fi­cult for nations with such diverse val­ues and cul­ture  to live together under the same roof.… [con­tinue reading]

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Jul 232012
 

Roberto bolle 2 Tonight Roberto Bolle and Friends alight at the 15,000 seater Roman Arena in VeronaTonight Verona’s fam­ous Arena is sold out. All 15,000 seats will be full to watch and his ‘friends’ dance in the open air. It is a magical place.

Italy’s Il Sole 24 Ore (the equi­val­ent of the , and the same col­our) spoke to him. Unfor­tu­nately half of these inter­views are always taken up with the same ques­tions, but as we know that dan­cers don’t eat a five-course meal before a show, and need to do reg­u­lar phys­ical exer­cise, let’s skip on.

Are the emo­tions always there?

They were there when I did the end of term shows, and they’re still there today. Now there’s less fear and more under­stand­ing: I’ve been on many stages, so now I have the con­fid­ence that you can only have after years of exper­i­ence.… [con­tinue reading]

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