Carlo Gozzi tale writer, the love for three oranges (L'amore delle tre melarance, 1761) in the spirit of the Italian Commedia dell'arte, loved saying: "remember that if not hits in exaggerated parody, it will never reach a positive goals!".
Before 1918, the lengthy touring across America, a 27-year-old Sergey Prokofiev has grasped with itself theatrical magazine published by Vsevolod Meyerhold, who with a group of leaders of the new Russian Theatre. The magazine was called just like the famous tale-parody ("f?âba") by Carlo Gozzi, the love for three oranges. Freestyle stage version of it was published in the first issue of the magazine. Vsevolod Meyerhold, together with Vladimir Solovyev, Vogakom and Constantine have revisited the tale by Carlo Gozzi in the spirit of a theater. The play enticed by the young composer "mix of fairy tales, jokes and satire, and, most importantly, its theatricality," so when the Board of the Chicago Opera has decided to order the "skifu" unconquerable new work, Prokofiev remembered on the Meyerhold write with this story ostrosovremennuû Opera which blew up scenic stamps and canons, and set to work.
Bryzžu?aâ fun of Opera was established as soon as possible, and by the fall of 1919, the score was ready.
«Easy» Opera-Merry, as Sam called her Prokofiev, and inventive, witty has colourful footage in parody form his own impression of the theatre of the pre-revolutionary Russia. A bold experiment on genre, consisted of a grotesque and poignant lyrics, however, did not lead to his destruction, and opened new possibilities for the old Italian Opera-buffa. The primary effect of the Love for three oranges is accompanied by and is interrupted by concurrent Prolog-cranks: characters, comedians and tragedians is constantly interfering in events, comment on them, help the heroes in distress. The introduction of these characters is connected with the theatrical nature of design: characteristic for its time debating how to be art – mindlessly happy, tragic or lyric, is the lead and the main action, and the media commenting on his "audience". Well, the plot, unfolding around the Prince, vlûbivšegosâ ipohondri?eskogo to utterly destroy witches Veil Morgans in three Orange, asserts as a fairy tale, the victory of good over evil, of love over witchcraft.
Premiere of "Oranges" was held on December 30, 1921, in Chicago. He conducted Opera, was written in French. The success was huge. February 18, 1926 Goda "Oranges" was first heard in English – in the Leningrad academic Opera and Ballet (Mariinsky). Opera staged apprentice Meyerhold Sergey Radlov; the composer himself, who was present at the premiere, found him setting better.
Opera the love for three oranges – a wonderful mixture of Commedia dell'Arte Theatre, in the theatre, farce, satire and tales. This is one of the most lively, vibrant and cheerful operas of the 20th century, full of imagination, ingenuity, sharp rhythms and contrasts, combining the grotesque and lyrics, reality and fairytale. "Tried to establish who I am laughing: the audience, the Gozzi, the operatic form or do not know how to laugh. Found in the "Oranges" and snicker, and challenge, and grotesque, but I just wrote a hilarious spectacle, "recalled the composer.
News About The Love for Three Oranges at Academy Of Music
Corrado Rovaris Conducts Verdi's REQUIEM
November 20, 2019
Opera Philadelphia is proud to present Giuseppe Verdi's Requiem this winter, not only as part of a season celebrating the 20th anniversary of the company debut of Jack Mulroney Music Director Corrado Rovaris, but also in memory of Jack Mulroney himself, who was instrumental in bringing Rovaris a?" already well-established at leading houses and festivals in his native Italy a?" to Philadelphia.
Opera Philadelphia Presents Verdi's REQUIEM
November 13, 2019
Opera Philadelphia will present Giuseppe Verdi's Requiem this winter, not only as part of a season celebrating the 20th anniversary of the company debut of Jack Mulroney Music Director Corrado Rovaris, but also in memory of Jack Mulroney himself, who was instrumental in bringing Rovaris - already well-established at leading houses and festivals in his native Italy - to Philadelphia.
BWW: Apples, ORANGES--Opera Philadelphia's O19 Shows Us What the Difference is
September 29, 2019
If you can imagine Rossini's IL BARBIERE DI SIVIGLIA with all its comedy but without any of its great arias, you can begin to imagine why Sergei Prokofiev's LOVE FOR THREE ORANGES isn't only anyone's top-ten list of favorite operas. Yet Alessandro Talevi's wild-eyed production at Opera Philadelphia's O19 Festival somehow manages to make the audience laugh itself silly and tap its foot with glee at the famous march that was such a big hit in the composer's time, that he grew sick of it.
Opera on the Mall Broadcast of Puccini's LA BOHEME Kicks Off Festival O19
August 01, 2019
Opera Philadelphia's recent revival of Puccini's romantic blockbuster had audiences and critics captivated. Now, opera lovers who missed its return at the Academy of Music, or can't wait to see it again, will have one more chance to see this beloved masterpiece on Saturday, September 14, at 7:00 p.m., as part of Opera Philadelphia's 9th annual Opera on the Mall at Independence National Historical Park.
Opera Philadelphia's 2019-2020 Season Launches In September With Third Annual Festival O
February 07, 2019
Launching its past two annual seasons with the groundbreaking Festival O has firmly established Opera Philadelphia not only as "one of North America's premiere generators of valid new operas" (Opera News), but as "one of American opera's success stories" (New York Times). Now the company steps boldly into 2019-2020 with the third edition of its festival, O19, which comprises two world premieres, two company premieres, and a series of special presentations, events, and recitals at multiple venues across the city in September. Next, the season spotlights renowned Jack Mulroney Music Director Corrado Rovaris, who leads three productions at the Academy of Music to mark the 20th anniversary of his company debut. As the Washington Post observes: "Opera in Philadelphia really can claim to offer something for everyone."