A formula increasingly applied in the theaters of San Carlo in Naples (which opened its season with Cavalleria Rusticana at 1.09 euros on Facebook) or in the spectacular proposal of the Opera in Rome to start the course with The Barber of Seville, with Daniele Gatti in the pit, who used the entire theater space for the performance. Functions increasingly thought of as audiovisual rather than theatrical shows, as the football business discovered many years ago.
An accelerated evolution in the artistic shortage of the pandemic. And economical. Today, the great orchestras and opera houses enter or aspire to enter more for their digital clients than for their loyal seat and program subscribers. Not to mention the interest of sponsors in these types of spaces.
The Digital Concert Hall of the Berliner Philharmoniker (its streaming platform) offered a 30-day free trial during the pandemic to which 600,000 people connected to watch three million hours of concerts. Who can compete with those figures?
The Livermore show was on Monday deciphering the twists and turns that unite cinema and opera, with references to Fellini and a return to Cinecittà studios.
The seams that unite the scene and the wardrobe were also uncovered, just at the moment when fashion has run out of catwalks to display and new formulas are being sought, as Alessandro De Michele (Gucci) with Gus Van has shown these days Sant. Giorgio Armani, Dolce & Gabana and Valentino lent their talent yesterday to the cause.
The show, not suitable for fundamentalists of sheet music on the lap, was a lyrical tutti frutti of arias designed for sofas and snacks at the home of such a particular Saint Ambrose day. The actor Massimo Popolizio was also given the floor, who recalled through the words of Ingmar Bergman the meaning of theater, a place where so many issues are settled that the law cannot resolve.
And a quote from Ezio Bosso was chosen to understand what a good orchestra can really represent. Right on the stage where music and politics used to settle old troubles with their eyes fixed on the Royal Box of the theater, where almost every year a different prime minister sat.