I Promessi Sposi – Opera Moderna

I Promessi Sposi – Opera Moderna

163 commenti su I Promessi Sposi – Opera Moderna

I Promessi Sposi – Opera Moderna è lo spettacolo che ho curato nella ormai lontana primavera del 2010, per cui non ho la freschezza di allora per poterlo descrivere come merita ma nonostante ciò non volevo rinunciare ad inserirlo tra i lavori più importanti a cui ho partecipato.
Ho deciso quindi di ripubblicare un articolo del mio collega e amico Alberto Trabucco, pubblicato sul sito ZioGiorgio.it il 3 agosto 2010 e ancora online al seguente link http://www.ziogiorgio.it/2010/08/03/i-promessi-sposi-luce/, mentre le foto sono di  T. Le Pera.

I Promessi Sposi – Opera Moderna, ha avuto un enorme successo di pubblico, è andata in scena il 18 giugno, allo stadio Meazza di Sansiro a Milano, la più imponente opera moderna mai realizzata, che ora sarà in tour per tutto il mondo e che verrà trasmessa nel mese di settembre dalle reti Rai.
ZioGiorgio network non poteva mancare l’appuntamento per intervistare le figure di riferimento che hanno collaborato e proseguono nell’impegno di questo grande progetto di Michele Guardì che è insieme autore, produttore e regista.

Ad un primo sguardo si rende evidente che l’impegno tecnico è notevole, la realizzazione de “ I Promessi Sposi” ha richiesto anni di preparazione e tempi lunghissimi di allestimento, ZioGiorgio ha incontrato e intervistato Franco Ferrari e Alessio Comuzzi, rispettavamente Light-Designer e Fonico di sala dello spettacolo.

Per la costruzione delle scenografie che sono imponenti, su una pedana girevole con quattro carrelli concentrici di forma circolare si muovono interi palazzi alti dieci metri, sono le ambientazione dei tanti capitoli dell’opera di Alessandro Manzoni, è così che vediamo comparire quadro per quadro la copia del Duomo di Milano, la casa dell’Innominato, il Lazzareto, il convento della monaca di Monza.
A lato del corpo centrale scenografico ci sono due “periatti”, che altro non sono che strutture girevoli con più facce, rotando su se stesse mostrano al pubblico altri set per lo svolgimento della trama.
Tutta la macchina è mossa da dieci macchinisti e quattro attrezzisti, una quantità di materiali impressionante, e tutto è ben concertato da quattro responsabili, per intervenire in modi e tempi giusti alla realizzazione di uno spettacolo così complesso.
Lo spettacolo necessita di un palcoscenico di quaranta metri di apertura, le prove sono state fatte a Roma, presso lo studio della Voxson, dove è stato possibile allestire lo spettacolo nella sua totale interezza, mezzo campo di calcio a disposizione per due mesi di allestimento scnografico, luminoso e sonoro, senza trascurare l’impegno musicale, i costumi, il trucco, i movimenti coreografici, l’arredamento.

Il disegno delle luci è un progetto di Franco Ferrari, vecchio leone della fotografia italiana, grande maestro di luci e di vita, il quale non si è fatto pregare e ci ha raccontato un po’ di se e dello spettacolo.

ZioGiorgio.it: Franco, tu sei un amante della luce teatrale, una tua grande passione, anche se poi hai lavorato per molto tempo in Rai, come hai impostato questo lavoro?

Franco Ferrari: si è vero, ho fatto molto teatro, fin dai tempi in cui ero al Teatro Bellini di Catania, prima di entrare in Rai dove sono rimasto per 35 anni.
I miei maestri sono stati Lucchino Visconti e Franco Zeffirelli, poi ho avuto anche alcune esperienze cinematografiche, con Nanni Loy, insieme a Marcello Gatti lavorai al film “Le quattro giornate di Napoli” che vinse il Nastro d’Argento.
Ma non posso dimenticare le esperienze con Pasolini e con Bolognini, che sono state fondamentali perché incontrai quello che ritengo il vero maestro della fotografia italiana, Tonino Delli Colli.
In Rai ho firmato la direzione luci di 20 edizioni del festival di Sanremo, 10 di Miss Italia e 16 sceneggiati tra cui Il segno del Comando, ed eventi come il Giubileo del 2000 con l’apertura della Porta Santa.
I Promessi Sposi è una grande opera musicale (come ci ricorda Michele Guardì che assiste alla nostra intervista), l’idea di partenza è quella di realizzare una immagine teatrale inerente a quella che è la drammaturgia del testo, rispettare il senso dell’epoca, le strutture, il senso passato, curando molto i particolari.
Io amo molto le luci effettate, i chiaro scuri che sono molto teatrali, cercando però di tenermi vicino anche ad un risultato fotografico, cosa necessaria perché lo spettacolo sarà ripreso in diretta televisiva.
Ho usato tutti proiettori motorizzati, sono 24 Mac 2000 Performance, 74 Alpha Profile 1200 , 8 Alpha Beam 300 e 6 Alpha spot 300 Hpe di ClayPaky, più un corredo di Streep led e di Par led della Coemar e 4 Seguipersona.
Mi piace questa impostazione perché ho deciso di usare una componente fredda a 5600 gradi Kelvin per dare il senso di un tempo passato e le luci calde negli interni che mi consentono di aumentare i contrasti e di personalizzare i luoghi e i tempi delle azioni.
Le luci fisse sono poche, giusto qualcosa per dare una diffusa, ma limito al minimo indispensabile il loro uso.

Il teatro non ammette repliche, gli spettatori saranno tanti a Milano, si aspettano ventimila presenze, e Franco Ferrari sa bene quanto sia dificile coordinare un lavoro così complesso, lo spettacolo è diviso in due atti e per ogni atto ci sono più di cento cambi luce, è per questo che in consolle, davanti ad una Wholehog III ci sono ben due persone, Marco Gattella e Fabio D’Angelo, le prove sono lunghe ed estenuanti, al mattino ci sono sempre rifiniture da fare, Franco Ferrari è un perfezionista, e il pomeriggio si fanno le verifiche con  gli attori. Prima di andare in scena lo spettacolo verrà provato e riprovato, a pezzi o tutto insieme, per decine di volte, ed ogni volta si aggiusta, si cambia, si migliora qualcosa.

Sulla scenografia vengono poi proiettate delle immagini, c’è un sistema Catalyst gestito da Andrea delli Fiori, ci spiega che frontalmente la videoproiezione sulla struttura scenografica sarà realizzata a Milano con quattro 30K della Christie montati in softage frontalmente al palco, questo per  proiettare immagini narrative sulla struttura scenografica, una terza dimensione d’ambiente. Poi un corredo di ottomila (sono altri quattro Christie, ndr) sono montati in retroproiezione e vanno a completare l’immagine di alcuni fondali che si creano di volta in volta con i movimenti scenografici.
I server sono due, il primo con due uscite da 1280×1024 pixel per le proiezioni frontali, tutto in alta definizione, e il secondo con una Tripla-Head, per le retroproiezioni, tutto sempre a 1280×1024.
Andrea conosce bene Michele Guardì, ha lavorato con lui per una intera stagione al Catalyst in Rai, e anche se questo è un impegno diverso, gli da grande soddisfazione.

E così è successo a Milano, chi vi scrive non ha potuto presiedere per altri impegni professionali, e così si è messo in moto per avere un riscontro di quello che è accaduto, e i racconti sono stati tanti, a cominciare dalla fatica dell’allstimento, i chilometri percorsi per stendere cavi, montare proiettori, casse, microfoni, e poi lo stress più grande, la pioggia, che nei dieci giorni di allestimento non ha mai dato tregua, e solo grazie alla copertura quasi totale del palcoscenico i lavori sono proseguiti. E poi il risultato, la tregua del tempo il giorno dello spettacolo, il pubblico riempie le tribune, lo stadio è gremito, il parterre è piccolo visto dall’ultimo anello dello stadio, il palcoscenico imponente, ricopre quasi tutto il campo di calcio, da “porta a porta” mi dirà qualcuno. E poi ancora, si accendono le luci, è ancora giorno, siamo al tramonto, tutto funziona, tutto è pronto e la magia con quei ventimila spettatori comincia.
Come è stato lo spettacolo? Ho chiesto ad uno dei ragazzi addetti al seguipersona. Una gran fatica, mi ha raccontato, ma Albè, belllissimo. E se lo dicono le maestranze, che dire? Non posso far altro che crederci, più di qualsiasi giudizio critico ufficiale.

Le prove a Roma sono andate molto bene, il risultato è completo, ora a Milano dobbiamo dare il meglio, è un appuntamento importante, sempre con il poco tempo per riprogrammare tutto l’impianto, non è facile, come sai il teatro ha bisogno che tutto sia in ordine, non ammette repliche.

Eh si il teatro non ammette repliche, anche perché non si possono rifare, chi non c’era, quella notte a Sansiro (me compreso) ha perso una grande occasione.

Lo spettacolo andrà in onda a settembre su Rai 1 ed è atteso in tour, una produzione importante per un’opera, “I Promessi Sposi” di Alessandro Manzoni, che è conosciuta in tutto il mondo. Un riscatto e finalmente qualcosa di originale per un evento che vuole, forse, anche riappacificarci con il tempo perduto sui banchi di scuola, e che non può che fare bene all’immagine della cultura italiana.

 

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