{"id":1241,"date":"2025-12-18T16:46:02","date_gmt":"2025-12-18T16:46:02","guid":{"rendered":"https:\/\/sitiwebsavona.it\/operastreaming\/tamerlano-ravenna-2023\/"},"modified":"2026-01-21T15:25:00","modified_gmt":"2026-01-21T15:25:00","slug":"tamerlano-ravenna-2023","status":"publish","type":"page","link":"https:\/\/operastreaming.com\/en\/tamerlano-ravenna-2023\/","title":{"rendered":"Tamerlano – Ravenna – 2023"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”none” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”custom” custom_text_color=”#d4c0ff” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”os__hero” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_color=”#ffffff” shape_divider_position=”bottom” shape_divider_height=”50%” bg_image_animation=”none” 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Tamerlano<\/h1>\n[\/vc_column_text][nectar_badge display_tag=”body” badge_style=”default” bg_color_type=”global” color=”accent-color” padding=”small” border_radius=”0px” display=”block” text=”VIDEO NO LONGER AVAILABLE”][\/vc_column_inner][\/vc_row_inner][tabbed_section style=”material” tab_change_animation=”fade” alignment=”left” spacing=”default” tab_color=”Accent-Color” vs_content_animation=”fade” vs_link_animation=”opacity” vs_navigation_alignment=”left” vs_navigation_width_2=”25%” vs_navigation_func=”default” vs_navigation_width=”regular” vs_navigation_spacing=”15px” vs_navigation_mobile_display=”visible” vs_tab_spacing=”5%” full_width_line=”true” icon_size=”32″][tab icon_family=”none” title=”Credits” id=”1768898558742-5″ tab_id=”1768898558742-9″][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]Tamerlano <\/strong>or The<\/strong> Death of Bajazet (RV 703)
\n<\/strong>Music by<\/em> Antonio Vivaldi<\/strong><\/p>\n

Tragedy in music in three acts
\nLibretto Agostino Piovena<\/strong>
\nFirst performance Verona, Teatro Filarmonico 1735
\n(Critical Edition by Bernardo Ticci, 2019 – Variations by Ottavio Dantone)<\/p>\n

Bajazet<\/em> Gianluca Margheri<\/strong>
\nTamerlano<\/em> Filippo Mineccia<\/strong>
\nAsteria<\/em> Delphine Galou<\/strong>
\nIrene<\/em> Marie Lys<\/strong>
\nAndronico<\/em> Federico Fiorio<\/strong>
\nIdaspe<\/em> Giuseppina Bridelli
\n<\/strong>Dancing roles<\/em>: Davide Angelozzi, Kyda Pozza, Elda Bartolacci, Alessandra Ruggeri, Graziana Marzia, Sara Ariotti<\/strong>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]Harpsichord Director<\/em> Ottavio Dantone<\/strong>
\nDirection, sets, and costumes<\/em> Stefano Monti
\n<\/strong>Lighting design<\/em> Eva Bruno<\/strong>
\nVideo\/3D content<\/em> Cristina Ducci<\/strong>
\nChoreography<\/em> Marisa Ragazzo, Omid Ighani<\/strong>
\nCanvas painting<\/em> Rinaldo Rinaldi, Maria Grazia Cervetti<\/strong>
\nIllustrations<\/em> Lamberto Azzariti<\/strong>
\nSculptures<\/em> Vincenzo Balena<\/strong>
\nSet construction<\/em> Laboratorio Scenografia Pesaro<\/strong>
\nCostume creation<\/em> Sartoria Klemann<\/strong><\/p>\n

ACCADEMIA BIZANTINA
\nDACRU DANCE COMPANY<\/strong><\/p>\n

NEW PRODUCTION
\nTeatro Alighieri di Ravenna
\nin co-production with Teatro Municipale di Piacenza, Fondazione I Teatri di Reggio Emilia, Teatro Comunale Pavarotti-Freni di Modena, Teatro del Giglio di Lucca[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/tab][tab icon_family=”none” title=”Info” id=”1768898558817-6″ tab_id=”1768898558818-8″][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\u201cFor some years now, a thesis has been gaining ground among critics and musicologists that baroque opera could become the musical theater of the future,\u201d notes director Stefano Monti, who also handles sets and costumes, \u201cdue also to the fact that the dramatic theater of the seventeenth and eighteenth centuries has a timeless emotional power. (\u2026) Although constructed around characters with historiographical relevance, the opera in question is characterized by its ahistoricity. Everything centers on passions, to the point of madness, the sublime mixes with the terrible, beauty with brutality\u2026 they are nothing but the continuous oscillation between the highs and lows of life.\u201d The pretext is indeed as historical as the Ottoman Empire’s Sultan Bayezid I and the Mongol leader Timur who captured him at the Battle of Ankara in 1402; but Tamerlano, or the Death of Bajazet \u2013 a \u201cpasticcio\u201d on a libretto by Agostino Piovena in which, as was customary at the time, pages by Vivaldi and materials borrowed from other composers and other titles converged \u2013 is a triumph of inaction dominated by passions. A monolith of almost Kubrickian memory will stand on the stage to pursue the poetics of baroque \u201cwonder\u201d but also the sense of a space out of time. <\/p>\n

\u201cBeing a \u2018pasticcio\u2019, this score is obviously characterized by a marked stylistic variety, but Vivaldi’s writing is easily recognizable compared to the style of the authors involved, namely Broschi, Hasse, and Giacomelli,\u201d explains Ottavio Dantone, at the helm of Accademia Bizantina, celebrating 40 years of rediscovering the ancient and baroque repertoire and prestigious achievements worldwide. \u201cThe Vivaldi opera composer is still often underestimated today: certainly, in his production, there emerges a compositional urgency and a certain ‘entrepreneurial’ character, but his writing skill, made of seductive melodic, harmonic, and rhythmic solutions, remains evident\u2026 it gives us an extremely connotative vision of the theatrical taste of the time. Philology is not just about the correctness of embellishments, articulations, or the use of ancient instruments. It is above all the knowledge of the customs and needs not only expressive but often also practical of baroque theater.\u201d<\/p>\n

In this new production, the baroque dimension of the title also emerges from the re-proposal of the encounter between puppet theater and melodrama \u2013 an encounter that already took place in seventeenth-century Venice, where the San Mois\u00e8 was the first opera house also for puppets; over time, musicians such as Vivaldi himself composed for puppet theater. The inclusion of dance also has a philological reason, in the \u201cdances\u201d mentioned in the original libretto (although there is no evidence of a musical counterpart). In this case, the work of the DaCru Dance Company focused on the need to make singer and dancer a single entity, with the former representing the physical body and the latter the subtle body, the space of resonances\u2026 through an unconventional language, thanks to the Urban Fusion training of the performers: Kyda Pozza, Davide Angelozzi, Elda Bartolacci, Graziana Marzia, Sara Ariotti, and Alessandra Ruggeri. <\/p>\n

The opera in three acts \u2013 on this occasion presented in the critical edition by musicologist Bernardo Ticci, with variations made by Dantone himself \u2013 contemplates the greatness and decline of an Empire with which the Serenissima had to contend for much of its history. The historical context is, however, less relevant than the opposition between the vanquished and the victor, prisoner and jailer. Bajazet, entrusted to Bruno Taddia for the premiere on Saturday, January 14, and to Gianluca Margheri for the repeat on Sunday, January 15, chooses death rather than remain in the power of his enemy, Tamerlano, played by Filippo Mineccia. To emphasize and complicate the drama, there are two women: Bajazet’s daughter, Asteria (Delphine Galou), whom Tamerlano desires as his wife despite her already loving Andronico (Federico Fiorio), and Irene (Marie Lys), whom Tamerlano intends to abandon in favor of Asteria. Amid real and presumed betrayals, the (unheeded) advice of Idaspe (Andronico’s confidant played by Giuseppina Bridelli), disguises, metaphorical and non-metaphorical poisons\u2026 the story spirals towards the inevitable conclusion: Bajazet’s suicide, whose death appeases Tamerlano’s wrath, returns Asteria to Andronico and Irene to her promised spouse. \u201cA conventional happy ending that, due to its intrinsic contradiction, leaves an open epilogue to many reflections,\u201d notes Stefano Monti again. \u201cThis determined the choice of an ending to the staging in which the end of a story and a break between performers and spectators were not produced, but placed both before new questions.\u201d [\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/tab][\/tabbed_section][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#DBCECD” scene_position=”center” top_padding=”4%” constrain_group_1=”yes” bottom_padding=”4%” top_padding_phone=”8%” constrain_group_5=”yes” bottom_padding_phone=”8%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all” min_width=”47vh”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”0px” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” enable_animation=”true” animation=”fade-in-from-bottom” animation_easing=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” enable_border_animation=”true” column_padding_type=”default” gradient_type=”default”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”8″ divider_color=”accent-color” custom_line_width=”69″][vc_column_text css=”” text_direction=”default”]\n

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