“Il regista britannico firma uno spettacolo frizzante e gustoso, oltremodo ironico e variopinto, basato essenzialmente sull’idea di relazione tra amore e pazzia, tra sentimento e delirio. I personaggi, ben caratterizzati nelle loro psicologie, adottano una gestualità volutamente enfatica e, a seconda delle occasioni, manierata, con movenze che ricordano quelle di un carillon e, nei momenti di inerzia, rimandano alle statuine in porcellana di Meissen.”
“The British director created a crisp/sparkling and delicious production, extremely ironic/funny and multicoloured, essentially based on the idea of a relationship between love and madness, between sentiment and delirium. The characters/cast, well-characterised by their own states of mind, adopt an intentionally emphatic movement and, as appropriate for the moment, manner, with movements that look like a Carillon and, in the still moments, seem like the porcelain Meissen figurines.”
Stefano Balbiani, Connessi all’Opera, 9 October 2018
The director for this production of “La Finta Giardiniera” at Teatro alla Scala, Milan was Frederic Wake-Walker, who with the aid of Anthony McDonald, responsible for scenery and costumes, and Lucy Carter’s lighting created an engaging and imaginative interpretation.
It was all good fun and produced a lively atmosphere, and perfectly embraced the buffa spirit.
The choreography was exceptionally well-considered, and the actors’ gestures were magnified in line with the performances practices of the time… By the end of Act one, the performance had clearly established a momentum.
Moreover, Wake-Walker’s interpretation added further subtleties; while the characters were singing a significant aria, they would cast off their clothes, stripping away their superficial feelings, which like the (psychic) walls that are being pulled down, allow their deeper emotions, born of experience and reason, to connect with their true love.
Nevertheless, Wake-Walker’s overall conception of the opera worked: the initial superficial power of love is finally dispelled as its madness destroys itself, and allows a more mature love to develop, thanks to the balancing effect of reason.”
Alan Neilson, Operawire, 15 October 2018
“Lo spettacolo, già acclamato al festival di Glyndebourne nel 2014, porta la firma di Frederic Wake-Walker, che si focalizza sullo studio dei caratteri e sulla relazione fra “amore” e “follia”. I personaggi sono all’inizio immaturi, ingenui e un po’ farseschi nella gestione dei loro rapporti. Fingono in sostanza, mettendo in scena una propria “maschera” che poi sparisce con la follia.”
Ugo Malasoma, Operaclick, 9 October 2018