Chaslin draws a parallel between the title characters of “La Gioconda” and “ Tosca,” both stories “of a woman who prefers to die than cede to a man who wants to possess her.” He also points to modern elements in Ponchielli’s score such as Barnaba’s final utterance: Rather than sing a high note, as per convention, he exclaims “Ah!” in what is indicated in the libretto as a “suffocated scream,” while the orchestra races with a rising chromatic scale to the chilling close. Further down the line, “La Gioconda” was an important steppingstone toward the “ verismo” operas at the turn of the 20th century - for which Puccini, a student of Ponchielli, is the best-known representative.
Chaslin, the sinister character of Barnaba is a kind of prototype for Iago, Otello’s scheming officer. Verdi had stopped producing operas for 16 years after the 1871 premiere of “Aida.”įor both Mr. Chaslin, the conductor of the production at La Scala, believes that “La Gioconda” drew essential impulses from Verdi while opening the door for his final operas, “ Otello” and “Falstaff,” for which Boito provided the librettos (he also helped revise “Simon Boccanegra”). In this reading, when Barnaba and his constituents claim that she can see despite being blind and declare her a witch, they are in fact expressing fear of her spiritual powers. He considers La Cieca a “profoundly mystic” character who is stigmatized much in the way that “haters” mob people on social media. Today, he continued, “it is up to the director to show things to society which it doesn’t see.” “It was a period in which art educated society about solidarity, loyalty,” he said. Livermore emphasized the importance of mounting operas that helped shape national values in the aftermath of Italian unification in the 19th century.
Livermore’s production team Giò Forma, include the French cartoonist known as Moebius - in particular his book “Venise Celeste” - and the Fellini film “Casanova.”
The city can disappear at any moment, recreating both the sensory perceptions of La Cieca, who is blind, and the fog that frequently envelopes its buildings. Livermore’s staging, Venice becomes a dreamscape where ghosts wander along the lagoon. He also performed the theme song of the Venezuelan soap opera Cristal among others.In Mr. He is the only record producer with 12 platinum and nine gold certified albums in Venezuela. As a performer, La Scala reached the top of the Billboard Top Latin Songs chart twice with "El Cariño Es Como Una Flor" and "Por Qué Será" in the 1990s. His work as a songwriter has been very successful, including songs recorded by Karina, María Conchita Alonso, Guillermo Dávila, Kiara, Ruddy Rodríguez, Proyecto M, Carlos Mata, Las Payasitas Nifu Nifa and Gerardo Mora. In 1971 he was presented as a solo artist under the name Flavio, finally presenting himself as Rudy La Scala in 1974. He began his career with a short lived band named Las Explosiones de Goma in the 1960s. At a young age, La Scala migrated to Venezuela, where he completed his primary and secondary studies, while learning piano and guitar. Rudy La Scala (born January 20, 1954) is a singer-songwriter and record producer, born in Rocca di Papa, Lazio, Italy.