{"id":10128,"date":"2023-11-16T10:00:31","date_gmt":"2023-11-16T09:00:31","guid":{"rendered":"https:\/\/www.elisabalbo.com\/trouble-in-tahiti\/"},"modified":"2025-07-30T11:45:51","modified_gmt":"2025-07-30T09:45:51","slug":"trouble-in-tahiti","status":"publish","type":"post","link":"https:\/\/www.elisabalbo.com\/en\/trouble-in-tahiti\/","title":{"rendered":"Trouble in Tahiti"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” left_padding_desktop=”2%” constrain_group_2=”yes” right_padding_desktop=”2%” top_margin=”15%” 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=”center” 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” column_padding_type=”default” gradient_type=”default”][vc_column_text]\n

Trouble in Tahiti<\/h1>\n

LEONARD BERNSTEIN <\/p>\n

28,29,30 January 2022<\/div>\n
4, 5, 6 February 2022<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_margin=”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\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” column_padding_type=”default” gradient_type=”default”][vc_column_text]\n
Conductor: Alessandro Cadario<\/strong><\/div>\n
Director: Luca Micheletti<\/strong><\/div>\n
Set and costumes designer: Leila Fteita<\/strong><\/div>\n
Assistant: Francesco Martucci<\/strong><\/div>\n
Light designer: Luciano Novelli<\/strong><\/div>\n
Orchestra del Teatro Carlo Felice<\/div>\n[\/vc_column_text][\/vc_column][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\/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]cast<\/strong><\/p>\n
Sam: Luca Micheletti<\/strong><\/div>\n
Dinah: Elisa Balbo<\/strong><\/div>\n
Jazz Trio<\/div>\n
Soprano: Melania Maggiore<\/strong><\/div>\n
Tenor: Manuel Pierattelli<\/strong><\/div>\n
Baritone: Andrea Porta<\/strong><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” left_padding_desktop=”2%” constrain_group_2=”yes” right_padding_desktop=”2%” top_margin=”1%” bottom_margin=”4%” 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=”center” 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” column_padding_type=”default” gradient_type=”default”][vc_column_text]\n

New production of Teatro Carlo Felice<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#ffffff” scene_position=”center” bottom_padding=”30px” 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”][image_with_animation image_url=”8664″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text css=”.vc_custom_1699621109787{padding-top: 30px !important;padding-right: 30px !important;padding-bottom: 30px !important;padding-left: 30px !important;}”]\n

Trouble in Tahiti was part of a dypthic with La Serva Padrona.<\/div>\n
<\/div>\n
\u00abSi tratta di un bel gioco di specchi, spiega Luca Micheletti, sia per la natura \u201cgiocosa\u201d delle opere sia perch\u00e9 in questo spettacolo che affianca due coppie lontane nel tempo ma vicine nello spirito abbiamo per protagonista una terza coppia che si presta a rappresentarle entrambe. Essere in scena con mia moglie \u2013 e aver ideato il progetto insieme a lei in tempo di lockdown \u2013 \u00e8 sicuramente un valore aggiunto di questa operazione che finalmente incontra il pubblico dal vivo. L\u2019idea alla base della mia regia \u00e8 quella di assistere ad un viaggio nel tempo. E la macchina che lo consente \u00e8 il teatro stesso. <\/div>\n
<\/div>\n
Dopo le schermaglie con apparente lieto fine nella Serva padrona, i due protagonisti si ritrovano nell\u2019America di due secoli dopo, nel pieno di un\u2019ennesima crisi di coppia. Una vicenda che Bernstein racconta da par suo, ispirandosi alla sua storia familiare. In Trouble in Tahiti, anche se Bernstein allude al genere dell\u2019intermezzo, ne fa una citazione ironica e di fatto se ne distacca, soprattutto per il doppio fondo amaro che ci mette. Niente di troppo serio, diciamo uno spolvero di malinconia. Due capolavori che messi al fianco l\u2019uno dell\u2019altro brillano di una luce inedita: tante le somiglianze, ma anche le preziose differenze, che in questo allestimento vengono valorizzate dalla continua metamorfosi degli spazi, ma anche attraverso l\u2019affiancamento di due diverse modalit\u00e0 di fruire del fatto musicale\u00bb. <\/div>\n[\/vc_column_text][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” left_padding_desktop=”30px” constrain_group_2=”yes” right_padding_desktop=”30px” 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” 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Reviews<\/h1>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1699622135064{padding-bottom: 30px !important;}”]\n

“…Elisa Balbo in quello di Vespina e Dinah, sono perfettamente a loro agio sia sotto il profilo vocale che scenico. Nessuna forzatura nella loro interpretazione, che invece comunica quella naturalezza che nasce anche dalla profonda intesa umana, oltre che artistica. Naturalezza con la quale peraltro passano da un ruolo all\u2019altro, toccando di fatto i due estremi della storia del teatro musicale maggiormente frequentato, nel segno di una versatilit\u00e0 vocale e stilistica ammirevole.”<\/p>\n

Connessi all’Opera<\/strong><\/p>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1699622155749{padding-bottom: 30px !important;}”]\n

“…morbida anche la linea vocale della Balbo, ottimo gusto, voce ben gestita, il tutto al servizio di un personaggio molto convincente, sia esso la velenosa Serpina o l\u2019infelice Dinah, alle prese con le proprie frustrazioni.”<\/p>\n

Opera Click<\/strong><\/p>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1699622181362{padding-bottom: 30px !important;}”]\n

“…Elisa Balbo, elegantissima nel suo costume borghese che tuttavia richiama l\u2019arlecchino della prima parte dello spettacolo. Anche il soprano passa con facilit\u00e0 ad uno stile canoro tanto differente e si destreggia egregiamente nelle arie previste: una nostalgica e onirica e l\u2019altra ironica e quasi da cabaret. Bene anche il lato interpretativo: crea una Dinah composta, algida, titubante e smarrita nella sua desolata quotidianit\u00e0.”<\/p>\n

Opera Libera<\/strong><\/p>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1699622201689{padding-bottom: 30px !important;}”]\n

“…ne \u00e8 risultato uno degli spettacoli pi\u00f9 brillanti che si siano visti al Carlo Felice negli ultimi anni, grazie all\u2019alta qualit\u00e0 di ideazione e realizzazione, alla vivacit\u00e0 dell\u2019evento teatrale e alla perfetta integrazione di tutti i fattori in gioco… la Balbo ha saputo trasmetterci tutti i languori e le malinconie di Dinah, e se i recitativi dell\u2019opera di Pergolesi rivelavano nella sua vocalit\u00e0 qualche sfumatura asprigna, queste risultavano utilissime per le scaramucce domestiche (\u00abMake it yourself\u00bb) e per i passaggi pi\u00f9 grotteschi della scena in cui la donna racconta del film del titolo (\u00abWhat a movie!\u00bb); in una situazione peraltro differente da quella prevista dal libretto (qui compare seduta sulla lavatrice), che ne accentuava ancor pi\u00f9 la disperata solitudine.”<\/p>\n

Rivista Musica<\/strong><\/p>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1699622239159{padding-bottom: 30px !important;}”]\n

“L\u2019intuizione \u00e8 stata grande e la sua realizzazione ha generato un prodotto operistico globale, che potrebbe andare al Metropolitan di New York ma anche a Radio City, all\u2019opera di Parigi come al Sydney Opera House. Insomma, centro perfetto… <\/div>\n
Elisa Balbo. Stupenda. <\/div>\n
Grande appropriatezza delle voci, che sono state ben calibrate nei cambi di timbro tra 1700 e 1900, e perfetta intesa recitativa, anche nei perfezionamenti dei personaggi circostanti.”<\/div>\n
<\/div>\n
Trucioli<\/strong><\/div>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1699622260390{padding-bottom: 30px !important;}”]\n

“La giovane cantante sorprende comunque per la grazia sicura e il controllo costante nella sincronia con l\u2019espressione mimica (anche nei recitativi e negli scambi con il servo muto) da attrice matura, conscia del margine stretto per un gioco a rischio di istrionismo.”<\/p>\n

Drammaturgia <\/strong><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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