Cavalleria Rusticana and Pagliacci
The Met New York
White card model showing set ideas for both shows |
Cavalleria Rusticana: |
Cavalleria Rusticana: |
Cavalleria Rusticana: |
Cavalleria Rusticana: |
Pagliacci: |
Pagliacci: |
Pagliacci: |
Pagliacci: |
Links:
Reviews:
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“ARae Smith’s set, a brick-walled town square, is blank and monumental in the first opera, and then festooned with laundry, electrical wires and posters in the second… In the striking stage pictures created by the turntable, the darkness, the chairs and the uniform costumes, the village activities are turned into rituals: the Easter procession, with a pair of brightly lighted holy statues;”
The Wall Street Journal, April 2015
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“Rae Smith’s set is framed by the earthy stone walls of the Sicilian town’s church. That central platform is encircled, at first, by a row of simple chairs. Soon, the townspeople (the Met’s splendid chorus) wander in and take seats. The image suggests the internal dynamics of a Sicilian town, where everyone observes everyone else’s personal life.”
The New York Times, April 2015
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“Even the curtain is pitch-perfect: a tacky, glitter-encrusted, blue velvet number with gold trim and cut-out stars, it emphasizes the fragility of the dramatic façade separating the two worlds of the opera and capitalizes on the self-awareness that is so central to the framing of Leoncavallo’s
libretto.”
New York Classical Review, April 2015
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