Beatrice Venezi approached Weill’s score with a remarkably clear structural interpretation. Her main merit was not “smoothing” the writing: the stylistic contrasts\u2014cabaret, jazz, popular song, operatic parody\u2014retained their friction. The pulse was firm, but never rigid, allowing the music to breathe theatrically without losing its ironic edge.<\/p>\n\n\n\n
The theater’s orchestra responded with precision and character, understanding the hybrid nature of the musical language. The brass section stood out, incisive without being strident, as did the saxophone section, essential to Weil’s distinctive sound. The percussion energetically sustained the moments of tension.<\/p>\n\n\n\n
(foto: Teatro Verdi Firenze – https:\/\/www.teatroverdi-trieste.com\/en\/spettacoli\/aufstieg-und-fall-der-stadt-mahagonny\/)<\/em><\/p>","protected":false},"excerpt":{"rendered":" (03.02.2026) La recensione di Alejandro Mitre. Beatrice Venezi approached Weill’s score with a remarkably clear structural interpretation. Her main merit was not “smoothing” the writing: the stylistic contrasts\u2014cabaret, jazz, popular song, operatic parody\u2014retained their friction. The pulse was firm, but never rigid, allowing the music to breathe theatrically without losing its 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