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Dante's 'La Divina Commedia' is a poem in three parts about a journey to hell, purgatory and finally, paradise. Romeo Castellucci created his own free adaptation on the gigantic stage of the Cour d'Honneur in Avignon, in the palace where the first French pope, Clement V, resided. The pope allows Dante to descend into the inferno. We are confronted with man's confusion, the fragmentation of the community and the darkness of art.
The story is set at the beginning of the Christian era on a large terrace of Herod’s palace, during the reign of Herod Antipas. At night, on a terrace of the palace, Salome, Herod’s stepdaughter, is gazed at passionately by Narraboth, captain of the guard. Jochanaan, a prophet, is imprisoned in a cistern for having slandered Herod. He proclaims the coming of Jesus, but his message is met with incomprehension by the guards. Salome hears the prophet. She manages to convince the guards to bring Jochanaan out so she can see him. Both fascinated and frightened by his prophecies, Salome falls passionately in love with this man. Richard Strauss’s opera at the 2018 Salzburg Festival, directed by Romeo Castellucci at the Felsenreitschule. In her debut in the title role, Asmik Grigorian distinguished herself with her talents as a singer and actress.
Premiered in 1787, “Don Giovanni” exposes the timeless theme of a man hovering between vitality and destruction. Neither morality nor the law can stop this serial lover in his quest to conquer all women as he places his own pleasure above all other principles. Today, the rich depth of Mozart’s masterpiece still astonishes audiences with its mix of comedy and seriousness, pleasure and love, entertainment and murder. At the helm of this new Salzburg Festival production, in a near-live broadcast from the Great Festival Hall, director Romeo Castellucci promises to focus on the ambiguity and inner turmoil of this serial lover whose immoral behaviour condemns him to a deadly solitude. The exceptional cast – featuring Italian baritone Davide Luciano (Don Giovanni), Russian soprano Nadezhda Pavlova (Donna Anna) and Finnish bass Mika Kares (the Commendatore) – is accompanied by the chorus and musicians of the musicAeterna ensemble, conducted by Vitaly Polonsky and Teodor Currentzis.
Mussolini is surrounded by pictures torn from a history-generated dream which gradually merge into everyday reality. Harlequin is the servant of two masters. The permanence of the clergy in the Eternal City is placed under a great bell which swings without a clapper.
Romeo Castellucci is one of Europe’s best-known directors, a firebrand known for productions that are as thought-provoking as they are visually stunning. He returns to Peak Performances with the American premiere of “Democracy in America,” freely inspired by the work of Alexis de Tocqueville. Castellucci conjures majorettes who stir the crowd’s enthusiasm for democracy in America, colonial settlers who confound the native Americans, and a puritan couple who struggle to farm a barren land. He asks us to consider the empty promises of a political system steeped in Biblical egalitarianism rather than the concept of tragedy so essential to ancient Greek democracy, the dangers of majority rule, and the inherent violence that springs from religious puritanism and territorial conquests. His challenging, soul-stirring brand of theatrical magic transposes these painful, profound ideas into an enticing, vibrant, celebratory work of art.
A human figure dressed as a woman is anatomically exposed by means of a series of photographic poses. The show is seeped from beginning to end in darkness, an allusion to the photographic negative.
In an environment coloured with talcum powder, the Soldiers of Conception escort a Child-Judge as he walks backwards across the set. When he bumps into the Tables of the Law, reality is overturned and all interiors becomes exterior.
Famed Italian director Romeo Castellucci re-envisions his groundbreaking 1997 production Giulio Cesare (Julius Caesar) as a series of “fragments” rearranged and positioned against each other—a clash between the ethereal and the obscure, the power of rhetoric and language stripped to its source.
As the first character to appear – the Mother – enters a square, gold-walled room, she blends so perfectly into the background that all perspective is lost. The visual order is disarticulated by the reflection of the gold to such an extent that even the woman skin loses its “hold” on solidity.