\u201cIt is only by focusing attention on the orchestra pit that the evening finds its firmest foundations. Beatrice Venezi\u2019s conducting stands out, without a shadow of a doubt, as the most consistent and meticulously crafted element of the entire production. For whilst the stage falters and the voices waver, the baton finds its purpose. Venezi draws from the score a wealth of nuances that do not always resonate on stage: an orchestra that breathes, that strains, that emerges from internal instrumental conflicts and that reveals \u2013 as the evening progresses \u2013 a process of refinement that speaks as much of tradition as of her work with her mentors.<\/p>\n\n\n\n
The new production of *Pagliacci* and *Cavalleria rusticana* at the Teatro Col\u00f3n is characterised by an uncompromising aesthetic ambition: it subverts the traditional order, uses cinema as a conceptual lens and claims the right to reinterpret \u2013 or even rewrite \u2013 the codes of verismo. The result\u2026 well, the result deserves to be viewed with a critical eye\u2026 and with the other one, the one that refuses to be silenced.\u201d.<\/p>\n\n\n\n
* * * * *<\/p>\n\n\n\n
The baton: the true pulse of the night<\/strong> <\/p>","protected":false},"excerpt":{"rendered":" La direzione di Beatrice Venezi si distingue, senza ombra di dubbio, come l’elemento pi\u00f9 coerente e meticolosamente curato dell’intera produzione. “\u00c8 solo concentrando l’attenzione sulla buca dell’orchestra che la serata trova le sue fondamenta pi\u00f9 solide. La direzione di Beatrice Venezi si distingue, senza ombra di dubbio, come l’elemento pi\u00f9 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\u201cAnd it is only when the focus turns to the orchestra pit that the evening reaches its high point. Beatrice Venezi\u2019s conducting stands out, without question, as the most coherent and meticulously crafted element of the entire production.
For where the scene meanders and the voices waver, the baton finds meaning. Venezi draws from the score a wealth of nuances that do not always come across on stage: an orchestra that breathes, that tenses, that emerges from internal instrumental conflicts and that reveals\u2014as the evening unfolds\u2014a process of refinement that speaks as much of tradition as of his work with his teachers.
It is in the pit that, at last, the drama unfolds.
Her performance is not merely a matter of going through the motions: there is an organic understanding of verismo, a way of making the theatrical and the intimate coexist, of creating atmospheres without the need for heavy-handed emphasis. As an Italian, Venezi understands that delicate balance between excess and restraint, between blood and form. And she brings it to life.
\u201dShe does know what this is all about.\"<\/p>\n\n\n\nClick here to read Sosa Battaglia\u2019s full article<\/a><\/mark><\/h3>\n\n\n\n
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