I could not continue to post on the various reviews that are coming on the 'improvised', and for those interested I created a special section here on the right hand column, just below the books. Bloglines for the last time the new arrivals, then you will go to those who want to read the various updates directly from the links at address book. This is Linus , Lettera.com and a radio interview broadcast in the garage sealed (which, thanks to the good Antonazzo Laura and Andrea Pasotti, came pretty well). Point.
Meanwhile, after playing for a while 'to the cartoonist, I do mind that the loaf, for the moment, can you gain with the work of illustrator. Then signals the release of two books made in the company of my partner: "Divine Comedy" told the kids (Monti publisher), with an invitation for us to read written by talented Luisa Mattia.
"Dad in Antarctica" (Edizioni Corse), born of the match between Silvia old woman and a researcher at the Antarctic base "Concordia".
This is the point for now. I go, I'm runny nose and fever.
collegiate offers a nice story, the nobility nell'ambinte e l’alta borghesia viennese dei suoi tempi. Tra le feste gli scherzi e i sentimenti, si può leggere una morale,implicita, espressa con tatto ed eleganza che invita chi si può identificare nei personaggi a far un buon esame di coscenza, ridendo e danzando nel contempo.
Atto I
Attendendo l’apertura del sipario, Ascoltiamo l’ouverture
(per l'occasione diretta da Otto Klemperer)
La prima voce a presentarsi, già da dietro le quinte,è quella di Alfred, spasimante Rosalinde who sings a serenade to his sweetheart.
The Eisenstein family's maid, Adele, enters, agitated and holding a sheet, an invitation sent to him dallasorella Ida, the festival will be held that evening in the house of the Russian Prince Orlofsky, but must to borrow a dress from the lady and what is more difficult to get the night off. Adele listening to the serenade, Rosalinde given to recognize a voice teacher Alfred, Rosalinde who knew him well, before getting married.
lady entered the scene and obtain permission, Adele, tells the pathetic lie, of having to go to an old sick aunt.
Determined, the owner denies permission for her company will remain alone in the house will remain as given that, that night, Gabriel Eisenstein, her husband, due to begin serving in prison, a mild sentence for having slapped a public official. Adele, inconsolable, sobbing withdraws from not being able to join the party and having to stay, however, to keep company with Rosalinde, who otherwise would be alone, exposed to harassment or better temptations.
Eisenstein enters Blind Arguing with his lawyer regarding it as an incompetent who could not, needless to do it on purpose, to avoid the increase of three days of the sentence, on appeal, as if unaware of che questi son gli usi e i costumi di molti avvocati,perché no del suo?
Partito Blind, Eisenstein si fa consolare dalla moglie e gli chiede degli abiti vecchi da mettere per andare in prigione fra la polvere e i topi.
Nel frattempo arriva il dottor Falke, amico di Eisenstein, che lo convince a rimandare l'inizio della pena, per andare con lui al ricevimento di Orlofsky a patto che sua moglie non sappia nulla anche perché prevede piacevoli incontri che questa non approverebbe. Eisenstein si lascia convincere facilmente e con gioia accetta la proposta. Rosalinde torna con i vecchi vestiti per-i giorni di galera- del marito e si meraviglia quando le dice di preferire il frac.
But she changed her mind, thinks the chance to meet Alfred, without witnesses, it grants permission to Adele, denied before. Eisenstein is ready to go to prison, fragrant and elegant, where the wait i. .. mice, poor thing!
Eisenstein and Adele pretend to feel sorry that Rosalinde remain alone.
Rosalinde also, of course, is to play in a trio and everyone rejoices in its reasons.
Rosalinde is surprised that her husband cry and dance at the same time, but think of Alfred to come. Alone is plagued by conflicting emotions and not want more meetings. When Alfred enters the villa of Eisenstein, as if he were at his house, wears clothes from the house of the latter, and enjoy the dinner that Rosalinde, with a view to be left alone, has in Serbia itself. Alfred , toasting, singing and sipping wine the asked to drink with him. The lady, who stroked, prima, idee sovversive, al momento di metterle in pratica cerca di allontanare l'amico pregandolo di andarsene, ma invano. A questo punto, come deus ex machina della situazione, del tutto inaspettato, arriva un imprevedibile Frank, il nuovo, diligente, direttore delle carceri, venuto, appositamente, ad arrestare Gabriel Eisenstein, che non conosce prima di recarsi, anche lui, alla festa di Orlofsky.
Rosalinde, ovviamente, non può negare, mentendo, che quel signore, che veste gli abiti di casa, mangia e beve con lei in casa sua, sia suo marito, il pregiudicato Gabriel Eisenstein.
Così Alfred, che l'ama, per non comprometterla, continuing to drink and sing Take you leave in prison instead of this, not before, though, it's greeted with the affection of a good loving husband, to be more credible.
Act II
the villa of Prince Orlofsky, Adele, just arrived, she meets her sister Ida, who is surprised with his presence . Adele, showing the invitation is still grieving, learning that this could only be "a joke". For Ida, it was a shame that her sister, maid, of the lowest order of an artist like her participate in this reception, however, decided to remedy by presenting the artist as a novice sister. Prince Orlofsky in hopes of Falke deathly bored and asks him what he never could amuse him. Such a plan has already said he had prepared a joke to Eisenstein, revenge, finally, about the time that his friend, carnival, I had to go home, dressed as a bat, in the light of day, and teased by everyone.
When Ida has her sister to the prince as a newcomer artist named Olga, Falke, and the favors he says, softly, to the Prince that it is a joke of his character.
Arrivato Eisenstein è presentato come il marchese Renard e Falke chiede al principe di intrattenerlo, mentre lui fa in modo di invitare Rosalinde alla festa.
Orlofsky gli offre da bere vodka dicendogli che la sola sua speranza di divertimento sta nella promessa che Falke gli ha fatto: di ridere di lui, il Marchese Renard.
Eisenstein non ha il tempo di riflettere su quanto detto dal principe, perché distratto dall’ incontro con Adele. I due si trovano in gran difficoltà non avendo nessuno dei due una spiegazione plausibile per giustificare la propria presenza, but the intervention of Ida Falk and present them as the artist Olga and the Marquis Renard save the show from the trauma of the encounter.
Following Renard, alias Eisenstein, is presented as the Chevalier Chagrin, the director of prisons and Frank is established between the two once a relationship of sympathy. Guests would have dinner, but Falke tells them that they should wait for the arrival of a Hungarian countess who, wishing to remain incognito will appear masked.
Eisenstein continues to think the strange similarity between Olga and Adele, but he is fascinated and feel very prettiest of her maid that, SINCE IT IS NOT, he decides to woo her with his preferred system: shake under the eyes of the lady, a ladies' watch, making them understand that it may be a gift .....
Finally, comes the Hungarian countess, of course masked Rosalinde, Falke has already informed her that her husband was at the party and not in jail and she does not take long to see him woo her maid, wearing, well, a dress. Although furious, keep calm in the aftermath postponing an 'explosive scene of jealousy.
Il marito, che non l'ha riconosciuta, decide subito di corteggiarla e le mostra il solito orologio, che lei riuscirà a sottrargli rimanendogli, così, la prova inconfutabile del tradimento. Rosalinde, non volendo svelare la sua vera identità, canta una csárdás per provare la sua nazionalità ungherese.
Ora gli invitati vogliono che Falke faccia lo scherzo promesso: la storia del pipistrello.
A queste parole Eisenstein si ricorda della beffa fatta a Falke
e racconta a tutti come egli, dopo aver fatto ubriacare l'amico,
l’abbia deposto, travestito da pipistrello, sotto un albero costringendolo ad attraversare, la mattina seguente, la città, deriso da tutti per via del costume che indossava .
Questo racconto diverte i presenti.
Ormai giunta l'ora della cena Orlofsky canta l'aria dello champagne
a cui tutti fanno eco e la notte passa tra brindisi e una comunione romantica tra gli invitati. il brano iniziato prima da Eisenstein e Frank quindi da Falke poi condivisa dagl'altri players, results in a delicate concert.
Still to the rhythm of waltzes and polkas Eisenstein try again, but in vain, to convince the "Countess" to unmask.
Shoot the six Eisenstein and Frank go away: both, but for different paths towards the prison, ignoring a the true identity of the other, that is to be respectively the warden and the prisoner.
link report it reproduces the issue of theater Zappala
Act III
E 'dawn and office of the director of prisons, and Alfred is singing from his cell in The Guardian Frosch annoying drunk who tries to silence him. Frank back from party, intoxicated e. .. say a little drunk.
Ring the bell, arrive Ida and Adele who request the Chevalier Chagrin and will be introduced in the office of Frank. Adele confesses not to be an actress, but would love to become, then, is failed to solicit the help of Chagrin it would be presented to some theatrical manager.
He performed well in front of him, arousing his interest, but the interview is interrupted, someone knocks.
Eisenstein presents itself to serve the sentence.
reviewing the two are welcomed cordially and Frank laughs
learning the reason for the visit of someone who knows how Renard, telling Eisenstein had arrested the night before.
These will be amazed, especially when he learns
That those 'Eisenstein was dining with his wife, who greeted very affectionate before following him in prison.
At which point the true Eisenstein becomes suddenly serious.
still sounds the bell of the prison, a veiled woman to announce to you Frank.
Eisenstein, alone, has puzzled more than a question of who can be sure of that woman. Arriva, meanwhile, also Blind, the lawyer, who has been called false by Eisenstein (Alfred).
Now Eisenstein has an idea: wear coat, wig, glasses Blind to talk with his wife and her friend.
Rosalinde is, in fact, the veiled woman came to advise
Alfred to flee to avoid meeting his
husband and defeat.
Eisenstein, disguised as Blind, submits to questioning along with Alfred. What happened in that house, the night before while Eisenstein was not there? In the end turns out to be Eisenstein, Rosalinde, but angrily shows him the watch che gli ha sottratto alla festa. Tutti i personaggi si ritrovano insieme in prigione, per festeggiare il finale, e Falke rivela che ciò cui tutti hanno assistito è stata la vendetta del pipistrello, Eisenstein non se ne ha a male e, chiedendo perdono alla moglie da la colpa allo Champagne,
Re di tutti i vini ed alibi di ogni marachella!
Finale"Die Fledermaus" - Kiri Te Kanawa & Hermann Prey
Placido Domingo conductor -
La morale di questa farsa playful topped by pleasant and well-articulated and music Srauss we can define, as mentioned above, plus an operetta, a work that lies in 'the elegance with which protagonists do not fall into the trap of dr. Falk. Although an attempt to let space to their free will was there it was just a try. It 's true that the intentions , both of which Rosalinde's husband, were a little libertine, but finally common sense prevails, as in any self-respecting fairy tale and fairy tales (which comply with) all have a moral, even if it ends with polkas, waltzes and champagne.
" Hush, hush-up of noise and noise floor without " ( from" La Cenerentola )
Il teatro Franco Zappalà, va sempre più arricchendo il proprio repertorio di operette, presentando lavori sempre più preziosi. Dopo la sconosciuta operetta “LaCittà Rosa” di Lombardo e Ranzato, e la poco rappresentata “Il paese del sorriso”, conosciuta ai più solo per la romanza “ tu che mi hai preso il cuor”, ha presentato in apertura della stagione 2009-2010 “ IL PIPISTRELLO” di Johann Strauss jr.
Il Teatro nato nel 1938, ha sempre curato, a Palermo, la divulgazione del teatro dialettale Siciliano,da qualche anno,oltre ad ospitare altre compagnie, mette on stage, with success, operettas and even books.
the evening of November 5, 2009 under the tent of an autonomous stable Siciliana 123 / a, the theater has just opened the season with an operetta that, although unconventional, with a significant commitment vocal and orchestral.
also in "Die Fledermaus" was mentioned most frequently performed operettas absent in the recitatives, these features give the impression of a real work on a par with those of Offenbach, the Fra Diavolo Auber's opera "The Daughter of the Regiment "Donizetti and others.
ll director Franco Zappalà presented the work of Strauss, with raffinata professionalità.
La semplice, ma efficace scenografia può essere considerata superiore a quelle importanti, con firma d’autore che oggi invadono i teatri lirici, presentando la caratteristica di sconvolgere il libretto dell’opera o di risultare del tutto, inesistenti.
Il Cast era formato da :
Anita Venturi che con classe ed eleganza, sia vocale che scenica, ha interpretato Rosalinde.
Giorgio Valenta ha presentato con disinvoltura la parte del frizante
Gabriel von Eisenstein,
Anita Valenta Giorgio Venturi and conducted by Maestro De Luca.
the distinguished and brilliant as well as good, in the role of Dr. Richard Schiro. Falke,
Mariafrancesca Mazzara, in the role of the sympathetic and Adele, the role of this sister, Ida, was awarded the distinguished Giuseppe Arini.
The voice of the young bass Giuseppe Esposito highlights the entire character of the prison director Frank.
The tenor Filippo Pina Castiglioni in the role of Alfred, that while
remaining in jail for an act, it has its good voice, pointing a large part of repertoire, as the personage who was also a tenor,
Blind Advocate has been interpreted by Thomas Caramia.
A special mention goes to Prince Orlofsky,
since that party, in the libretto by Strauss, is entrusted to the voice of a mezzo-soprano and so interpreted, usually by a woman
or a man, by the very high vocal register. In this edition the part sung by the bass voice of John The Commute, is more plausible and acceptable to the general public, saving, too, let's say, the character easy to gossip. Applaud the dancers that replacing the festive and frantic "Tritsch Tratsch Polka," as the dance festival, has created a show within the show, with a more composed "Emperor Waltz" by the same author and guest of honor music from Bizet's Carmen as the first dancers performed very well.
Last but not least, the orchestra, made up of young and talented professors, was masterfully, conducted by Michael De Luca, who gave all of himself (and not cheap) to carry out with care and passion the whole work. Pictured in the foreground left : Master Michael De Luca ,
Richard Schiro, M. Francesca Mazzara, John The Commute.
By artists compliments and wishes to continue
towards the goals set out in Palermo really need, we
knowledge of the plot of the operetta by Johann Strauss, but in the near Post
The attempt to rearrange their ideas did not go through. also complicates return to bomb ferocious deadlines, stay Lucchese I still think un'indistinta colored stripe and noisy. Like when, heedless of the prohibitions, sticks his head out the window of the speeding train and struggling to keep his eyes open. not you know why, but revenues a feeling of happiness.
The only thing at the moment mi viene da raccontare è lo scambio di battute con un ragazzo che aveva già letto il libro prima del salone:
- Molto bello, mi piace veramente il personaggio. Peccato però che, essendo un personaggio reale, finisce qui, non avremo più storie con lui! -... appunto... è un personaggio, in parte, autobiografico ed essendo io ancora contemporaneo, non vedo perché non ci dovranno più essere storie di Elia Sabaz! – ho replicato io a gran voce e gesticolando con una mano sola.
Comunque, tornato a casa ho sentito il bisogno di cominciare a scrivere qualcosa.
Non vuol dire niente, siamo ancora allo stato delle "voci nella mia testa" (See a few posts ago). It does not mean anything really, but Elijah lives and fight with us. know this boy that I ask questions that frighten me.
Meanwhile, I keep getting your voices on the book. I write nice things and I often find myself responding in inappropriate ways. do not know, I get excited and words shrivel up platitudes. Pity, it takes patience with me. But let's
sandwiches: I am very proud to have received three review that appeared in the AC mangialibri.com So thanks a also Randa Ghazy that is in addition to direct employment for what the great Claudio Stassi who wrote here On Muni ( review here) and Andrea Turek ( Babylonbus.org ). *** UPDATE ***
I realize now that c 'is another nice review on my blog juvenile ... after reading it I still have a question for Gekko: "But then you have known?" I do not remember if you did not ... Well, I'm here. I also forgot to mention that my childhood dream has come true: I went on Gazzetta dello Sport. Yes I know, not for the same reason that I wanted to see ... but that's okay.
It will take a while before putting in place all the sensations this long weekend of Lucca. Meanwhile, I thank all those who sought to express and show their affection towards me and towards the "improvisation". Do not expect so many. Do not expect so interested. Do not expect that. Meanwhile I leave you with yet another beautiful gift that made me Gipi. Look at you. I, as usual, I can not.
is about to start this edition of Lucca Comics and Games. I'll be at booth Rizzoli Lizard from Thursday 29 to Sunday, November 1. So far, so good, I guess.
But I learn now that there must be a Showcase of myself by Gipi Thursday 29 at 18.00 in the area. I will draw again on camera while going forth with Gipi nicely (we've got it right. So, not the other way. Life is strange eh?) Possibly trying to stay alive. (Note to myself: remember to update my support for multitasking). However
beautiful messages continue to arrive here on the blog and in private. Feel like you have clothed yourselves in my little story is, I believe, the best gift an author can receive from its readers.
I thank you all and I will try to answer everyone. Meanwhile
google alert takes me, like a message in a bottle, a review of the 'improvised' in Italian. You can read
In a comic book as "Improvisation", the style adopted not seem to pose particular problems with the realism of the setting and characters. In some way it is, but while working on this story, I felt the need to draw from a fairly accurate documentation. While drawing places and situations familiar to me, I wanted the document to avoid the excessive confidence that would make me fall into the stereotype. Beginning with Elijah. I also play the soprano sax, but I have never seen "outside" and then the identification between me and him had already given enough without getting too physical features.
Searching the internet I made a library mostly using images of Steve Lacy, who had the right physique, and ability on the instrument that required my character.
Here's an example: I used these images in tables, as a repertoire of poses and shots. So:
For instruments more difficult to draw, as the battery, I did some small studies "dynamic", integrating my "field experience" with the photos, trying not to make mistakes "operation" the instrument (that's enough quotes, though!) then use these sketches as models during the design of the tables.
also for the places I did a search on the Internet and a ride to photograph the streets, hills and houses ...
On other occasions, they were photos found in newspapers and magazines, by chance, to suggest an idea for a good shot. So I spent some time to pull pages, leaving everywhere magazine maimed, to the delight of Silvia. But I think I have made good use.
Finally, a last resort, the dear, old friends. Always there at your fingertips, you have people like you would not know even invent a thousand years.
I continue to accompany the release of the book here on the blog by putting other material showing a little bit of my way to work.
Today I want to tell of how the step from idea to finished board. At least the way I used in this book, because I'm not one who takes a liking to the methods, a bit 'because I always put them into question and a bit' cause I like too idearne new ones.
Take for example the plates 28 and 29 For each chapter, I spent a few days to write your notes in the form of dialogues on various pieces paper (sometimes even a notebook). After a few days to settle what has been written yet, I got a moleskine "light" (those bound with staples) and I started to put those pieces of dialogue in cartoons and collecting the cartoons on the boards. In a very simple, dare I say rough.
What came out is not even a script and a storyboard. As you see, sometimes I have sketched the forms of characters but were not absolutely indicated for the shots, I did just to buy time if I was just the next line of dialogue. At this stage, only heard the voices, (as Bernadette!) I did not need to see action. I still do not understand why if I already clear all or because I had not the faintest idea (however inclined to the latter, as will the effort made in the tables below). NOTE: This method has been repeated throughout the book is identical with the only change that at some point I found it more fun to do this pattern by writing to the computer with a toy that little program called "Comic Life".
At this point I began to sweat on the tables. A pencil first as a storyboard in size, with the mine cyan, and then directly above it, a pencil sharper with a mine 2b.
At this stage I did not put balloon cho tried to keep in mind the size of the text and drew freely.
Once done with 2B pencil, I wrote some notes in the margins, on questions of composition, or me "fuck" on some mistakes to remind me to make corrections.
then scan the tables, correcting the flaws more apparent, the cyan filter remove, and I added balloon lettering with photoshop and put a second color on the fly, with a graphics tablet to see if the atmosphere of the table was the one intended.
If all I met when I was a full chapter, the tables were leaving at a time via email to Nathalie (my talented translator, a must!) And then the publisher. If not, start again.
Once approved the boards came on the field on a light table. Print draft and polished everything with a mine on a HB fabriano f4.
Coming so my final version to be colored (if not all smear, the graphite does not forgive!).
Now, new scanning the final, minimum levels adjustment (because I liked the effect remained evident pencil), then, lettering final (of course I put here that you will find the Italian edition Rizzoli Lizard), staining simple ... in short, a few hours of photoshop
et voila here is the completed tables.
I repeated the game for about ninety tables and the book was done! Easy!
The paper boat has already started on the journey, we hope there are no waves are too high. meanwhile arrived some nice message from readers (some are even in the previous post). I'm happy. Accompanying
for a while 'our boat, put it here in the blog that there is no material in the book (which also has a nice extra section ... ahem).
begin with a cover for the edition of discarded French. few days before going to press, just come to the sea for a short holiday with my family joins me an e-mail editor. Suddenly it is no longer convinced that he had approved the cover (and that I had made), so I ask you to think (very quickly) another. I , undecided whether to bless or curse my compulsion to bring my laptop everywhere, scanner and graphics tablet, I start to work (while my little family goes to bathe happily taking me for a ride). After several bounces
skype some sketches, at midday we arrive at a definitive.
Approved. Spending the afternoon in color and before dinner (just in time to accommodate the tourists who come back from the beach, happily taking me for a ride) we have the new cover!
I do not mind at all, although the cover previously approved I liked very much. Patience. spent a few weeks and the package arrives with books. trepidation I open e. .. I find the "old" cover! So I just have to sit down and try to decide if they are more pissed off about the work done in vacuum (at sea) nor more than happy to have the cover of choice for me.
(A few months later find out that liked the old cover all employees of the publisher and when they discovered that he wanted to replace l'hanno pressato finché non ha cambiato idea. Li devo ringraziare?).
Theatre Sant'Anna, born in 1852 in a garage of the building Valguarnera, near St. Anne's Church which was named, was short-lived
theater Oreto, opened in early July 1851, in ca until the Prince of Cutò site in front of the Villa Giulia.
Teatro Circo , in the garden of the convent of the Dominican Fathers in via Bambinai, entirely of wood. It was theater of the people is called for popular shows che i prezzi assai modici, chiuse nel 1886.
L’anfiteatro Mangano nel giardino del palazzzo Villarosa. Struttura in legno inaugurato il 19 Gennaio 1890 con una rappresentazione circense, ma vi venivano rappresentate anche opere liriche. Chiuse nel 1897.
Il teatro San Ferdinando , di cui oggi esiste solo una squallida facciata ed un portone circondato da una scritta recante il nome: Real Teatro Umberto I, poiché dopo l'untà d'Italia fù dedicato al secondo Re d'Italia, possibilmente in ossasione delle sue presenze a Palermo per l'inagurazione del Teatro Politeama e Il Teatro MASSIMO .
Teatro San Ferdinando Umberto I and was built in 1800 by Antonio Carini, and opened in 1816. from the writings of Gaspare Palermo drew from the March-Iron (historical Palermo), states that there were four tiers of boxes and in the keystone of the stage, there was, "for the convenience of viewers," a clock . The shallowness and haste of Palermo, it seems eternal, it was facilitated by giving them the opportunity to leave the show when their needs, even more futile, so require or justify. We do not hear, but it 's entrance is at number 8 of Via Merlo, writes, Louis Maniscalco Basile in his "History of the Theatre Massimo Di Palermo"
Domani è il gran giorno. Comincio a festeggiare facendo una serie di trailer con diverse colonne sonore. Il primo è questo, in cui ho utilizzato una mia vecchia canzone che si intitola "Povero me".
Sì, sono io che canto (e suono).
Sul canale youtube di Lizard c'è la versione shakerata dal bravo Roberto La Forgia.
Politeama Theatre, was built by architect Giuseppe Damiani Almeyda that after visiting the existing models of Pisa, Livorno, Florence and Naples, he realizes his work Pompeian style.
The theater was born, to accommodate different kinds of shows, opera, operetta, drama and even the circus. Designed as an outdoor theater during the day, only later it was decided to provide a cover to make it more usable.
In 1869, a municipal decision decided to call the theater at
Gioacchino Rossini, in the death of the great occsione musicista
pesarese, ma il Teatro rimase, inspiegabilmente, ancora per anni,
Teatro Municipale Politeama.
Il teatro è sormontato da una Quadriga bronzea di Apollo , opera di
Mario Rutelli, e due cavalli, agli angoli, montati da ignoti cavalieri, di Benedetto Civiletti.
le lapidi ai lati dell’ingresso recano, sulla sinista, la data del decreto col quale si dava il benestare alla costruzione dell’ opera e quella della solenne inaugurazione.
Mentre sulla destra la dedica da parte del municipio di Palermo al suo popolo, reduce dall'epidemia di peste.
At the top of one of the lampposts , beside the main entrance, a female figure
in the left hand with an object like a pitcher and a right sistrum, musical instrument of Egyptian origin, but used by other peoples, like the Jews.
On the back of the theater the igresso once reserved for scenes and circus animals.
After the death of Giuseppe Garibaldi , in 1882, Politeama
was immediately dedicated to the hero of the Italian Risorgimento, demonstrating the interest more political than musical Palermo or come municipal organi ..,
of
forever.
was opened in June 1874,
the presence of King Umberto I and his wife Margaret
Reggina,
with "I Capuleti ei Montague di Vincenzo Bellini , anche se incompleto e privo della copertura che , progettata anche questa dal Damiani, venne realizzata, in seguito, metallica, dalla Fonderia Oretea, della famiglia Florio . L a copertura fu ultimata nel novembre del 1877 .
The theater was finally completed with the finishing touches and embellishments in 1891 just in time for the National Exhibition of 15 November 1891-7 June 1892. While the Teatro Massimo, was still under construction, the Politeama Garibaldi was opened, again, in the presence of the King and Queen, with the commissioning scene in Othello G. Verdi. On podium, presumably, Arturo Toscanini, who will direct the 1892-93 season, always at the Politeama also "Norma" by Bellini, the "Loreley" Catalani's "The Flying Dutchman" by Wagner
and other works.
Among the interpreters of the tenor Francesco Tamagno, with a voice, now legendary, and it seems that Verdi composed for him "to measure" the cavatina "Rejoice", the song with which Othello enters the scene. On this great tenor, L uigi Maniscalco Basile in the book "History the Teatro Massimo in Palermo tells an anecdote in reference to a replica of ' Othello. One evening, after several requests for an encore, it seems it was asked for an air not important, but significant commitment voice "My Misery" content a bit 'annoyed rather than shoot "My Misery" had to change it into " Poverty your "
unleashing pandemonium
in public, certainly devoid of humor. The great tenor had to apologize to resume performance.
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Giuseppe Damiani Almeida 
