Vespa, Carlucci and the multimedia «Macbeth» seen on TV- Corriere.it

Vespa, Carlucci and the multimedia «Macbeth» seen on TV- Corriere.it
Vespa, Carlucci and the multimedia «Macbeth» seen on TV- Corriere.it

Livermore’s direction is enhanced by the splendor of the home screen: a triumph of new technologies, of micro-cameras on the singers’ heads, of surveillance cameras used in an expressive way, of led walls that are lost in the theater

On the feast of Milanese, on the auspicious day in which the opening of the Scala coincides, by deliberate symbolism, with the celebration of Ambrose, the patron saint of the city, to comment on the «Macbeth» on Rai1 there are two from Rome: Milly Carlucci and Bruno Vespa. The Ambrogino d’oro pop will also be assigned to them. For heaven’s sake, no parochial claim, but a simple observation or perhaps the memory of the times when the Elio Sparano family knew how to manage the Prima della Scala from Milan and also the first of the prima. Or the memory of the first pages of“Anonymous Lombard” where there is a declaration of true love for the world of opera, which is expressed – as Arbasino himself will explain – through “the epochal revival of the taste for opera, and of its then highly despised librettos, as if they had no provided a repertoire of citations appropriate in every situation for our nineteenth-century bourgeois culture: with the same function as the novel and poetry in other European societies ».

Then, during the live broadcast, Bruno Vespa confuses a baritone with a tenor but interview Alberto Mattioli; on Tg3 Daniela Cuzzolin married to Oberosler hands the microphone to Arturo Artom. Find the difference. Ubbie in front of the TV, nothing more. The real difference between Scala and Casa is that Livermore’s direction is enhanced by the splendor of the home screen. It is always a gamble to “modernize the ancient”, to put skyscrapers in place of forests and elevators in place of golden thrones, but here it is a triumph of new technologies, of micro-cameras on the heads of singers, of surveillance cameras used in a expressive, of led walls that are lost in the theater. Even the direction of Arnalda Canali (supported by the Rai TV Production Center in Milan, mind you) puts his own, with shots that challenge conventionality. It’s a «Macbeth» multimedia, music at the service of the image?

December 8, 2021 (change December 8, 2021 | 23:47)

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Vespa Carlucci multimedia Macbeth Corriereit

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