{"id":6540,"date":"2025-12-18T22:59:31","date_gmt":"2025-12-18T22:59:31","guid":{"rendered":"https:\/\/albanitaly.al\/?p=6540"},"modified":"2025-12-18T22:59:32","modified_gmt":"2025-12-18T22:59:32","slug":"lohengrin-ne-operen-e-romes-performanca-intime-e-wagner-nga-mariotti-michieletto-dhe-visco","status":"publish","type":"post","link":"https:\/\/albanitaly.al\/sq\/lohengrin-allopera-di-roma-il-wagner-intimo-di-mariotti-michieletto-e-visco\/","title":{"rendered":"Lohengrin n\u00eb Oper\u00ebn e Rom\u00ebs. Wagneri intim i Mariotti, Michieletto dhe Visco"},"content":{"rendered":"

Sezoni i ri n\u00eb Teatro dell'Opera di Roma hapet me nj\u00eb gjest force dhe vizioni: Lohengrin kthehet n\u00eb Costanzi pas pes\u00ebdhjet\u00eb vjet\u00ebsh, dhe p\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb gjermanisht. Wagneri romantik k\u00ebshtu z\u00eb vendin qendror n\u00eb nj\u00eb sken\u00eb romake q\u00eb tani \u00ebsht\u00eb riintegruar plot\u00ebsisht n\u00eb qarkun nd\u00ebrkomb\u00ebtar. <\/em><\/p>\n\n\n\n

Nga Rosalba Panzieri<\/p>\n\n\n\n

Richard Wagner shkroi muzik\u00ebn dhe tekstin p\u00ebr k\u00ebt\u00eb oper\u00eb romantike n\u00eb tre akte, duke u frym\u00ebzuar nga "Parzival", nj\u00eb poem\u00eb mesjetare nga Wifram von Eschenbach, i kapluar nga nj\u00eb ethe e pam\u00ebshirshme krijuese, si\u00e7 e tregon vet\u00eb n\u00eb "Jeta ime". Nd\u00ebrsa merrte nj\u00eb trajtim n\u00eb spa, ai u pushtua nga nj\u00eb d\u00ebshir\u00eb e fort\u00eb p\u00ebr t\u00eb shkruar dhe e nd\u00ebrpreu banj\u00ebn e tij. "Hodha jasht\u00eb me padurim," shkroi kompozitori, "duke i dh\u00ebn\u00eb vetes koh\u00eb t\u00eb mjaftueshme p\u00ebr t'u vishur mir\u00eb dhe pastaj, si nj\u00eb i \u00e7mendur, nxitova p\u00ebr n\u00eb sht\u00ebpi p\u00ebr t\u00eb shkruar at\u00eb q\u00eb m\u00eb shqet\u00ebsonte." Rezultati ishte nj\u00eb oper\u00eb romantike monumentale, e pritur me padurim n\u00eb Rom\u00eb p\u00ebr dekada t\u00eb t\u00ebra.<\/p>\n\n\n\n

Debutim i shk\u00eblqyer p\u00ebr t\u00eb gjith\u00eb<\/strong><\/p>\n\n\n\n

\"Lohengrin<\/figure>\n\n\n\n

 \u00cbsht\u00eb nj\u00eb rikthim q\u00eb ndihet si nj\u00eb ritual dhe nj\u00eb rilindje, duke paraqitur debutimin vagnerian t\u00eb Drejtorit Muzikor Michele Mariotti, regjisorit Damiano Michieletto dhe tenorit Dmitry Korchak. Bashk\u00ebprodhimi me Palau de les Arts n\u00eb Valencia dhe Teatro La Fenice konfirmon thirrjen globale t\u00eb Costanzi-t, sot nj\u00eb laborator krijues i aft\u00eb t\u00eb angazhohet me Evrop\u00ebn. Krahas Korchak, nj\u00eb kast z\u00ebrash prestigjioz\u00eb - nga Jennifer Holloway<\/a> (Elsa) n\u00eb debutimin e saj romak me Clive Bayley, T\u00f3mas T\u00f3masson, Ekaterina Gubanova dhe Andrei Bondarenko \u2013 t\u00eb udh\u00ebhequr nga Orkestra dhe Kori i Operas di Roma, t\u00eb dirigjuar nga Ciro Visco. Michele Mariotti, fituese e \u00c7mimit Abbiati 2017 dhe nj\u00eb prani e vazhdueshme n\u00eb teatrot kryesore t\u00eb bot\u00ebs, e sheh Lohengrin si kulminacionin natyror t\u00eb nj\u00eb udh\u00ebtimi drejt nj\u00eb teatri t\u00eb hapur dhe kurioz, t\u00eb aft\u00eb t\u00eb flas\u00eb gjuh\u00eb t\u00eb ndryshme. Damiano Michieletto, i vler\u00ebsuar nga New York Times dhe krijuesi i Festivalit Caracalla 2025, i afrohet Wagnerit duke rikthyer nj\u00eb dridhje njer\u00ebzore te personazhet, nj\u00eb zem\u00ebr q\u00eb rreh n\u00ebn armatur\u00ebn e mitit, nga lufta midis individit dhe masave, p\u00ebrmes brisht\u00ebsis\u00eb s\u00eb dashuris\u00eb midis Els\u00ebs dhe Lohengrin, deri te tensioni midis historis\u00eb dhe legjend\u00ebs.<\/p>\n\n\n\n

Artist\u00ebt e rinj t\u00eb Programit t\u00eb Artist\u00ebve t\u00eb Rinj "Fabbrica" plot\u00ebsojn\u00eb tablon\u00eb, nj\u00eb shenj\u00eb e thirrjes edukative dhe nd\u00ebrkomb\u00ebtare t\u00eb Operas s\u00eb Rom\u00ebs, e cila vazhdon t\u00eb rritet si nj\u00eb nga qendrat m\u00eb t\u00eb gjalla dhe t\u00eb njohura t\u00eb sken\u00ebs evropiane t\u00eb oper\u00ebs. N\u00eb k\u00ebt\u00eb interpretim, Lohengrin i hapet publikut si nj\u00eb vend magjeps\u00ebs, nj\u00eb hap\u00ebsir\u00eb e pezulluar ku spiritualiteti m\u00eb n\u00eb fund gjen nj\u00eb rrug\u00eb. Mjellma, emblema absolute e mitit, nuk shfaqet si nj\u00eb figur\u00eb, por si nj\u00eb koncept i shp\u00ebrfytyruar. \u00cbsht\u00eb nj\u00eb munges\u00eb q\u00eb b\u00ebhet prani, nj\u00eb simbol q\u00eb ngre pyetje. <\/p>\n\n\n\n

Nj\u00eb pyetje arketipike<\/strong><\/p>\n\n\n\n

\"lohengrin<\/figure>\n\n\n\n

\u00c7far\u00eb do t\u00eb thot\u00eb t\u00eb duash? Dhe, p\u00ebrs\u00ebri, a \u00ebsht\u00eb njer\u00ebzimi i aft\u00eb p\u00ebr besim? Lohengrin na sfidon. Ai nxjerr n\u00eb pah se sa t\u00eb paracaktuar jemi p\u00ebr fatkeq\u00ebsi, se si d\u00ebshira p\u00ebr t\u00eb kuptuar, p\u00ebr t\u00eb ditur, p\u00ebr t\u00eb kapur \u00ebsht\u00eb guri i varrit i shpirtit, i shpirtit t\u00eb gjith\u00e7kaje q\u00eb k\u00ebrkon nj\u00eb shikim t\u00eb verb\u00ebr p\u00ebr t'u zbuluar n\u00eb drit\u00eb t\u00eb plot\u00eb. Elsa nuk mund ta duroj\u00eb dyshimin - askush prej nesh njer\u00ebzve nuk mund ta duroj\u00eb - dhe e thyen premtimin e saj t\u00eb besnik\u00ebris\u00eb. Ajo nuk ka as t\u00eb drejt\u00eb dhe as t\u00eb gabuar, ajo \u00ebsht\u00eb thjesht njer\u00ebzore. E zhytur, pra, n\u00eb nj\u00eb dimension t\u00eb turbullt, t\u00eb err\u00ebt, mishor q\u00eb k\u00ebrkon k\u00ebnaq\u00ebsi nga e vetmja m\u00ebnyr\u00eb q\u00eb ka p\u00ebr t\u00eb aksesuar t\u00eb v\u00ebrtet\u00ebn: duke b\u00ebr\u00eb pyetjen q\u00eb k\u00ebnaq njohurin\u00eb racionale. Lohengrin, nga ana tjet\u00ebr, vjen nga qielli, i p\u00ebrket hyjnores. \u00c7far\u00eb na thot\u00eb Wagner me k\u00ebt\u00eb opera n\u00eb t\u00eb cil\u00ebn t\u00eb gjith\u00eb humbasin? Ndjenja \u00ebsht\u00eb nj\u00eb form\u00eb njoh\u00ebse, ndaj s\u00eb cil\u00ebs qeniet njer\u00ebzore shum\u00eb dob\u00ebt dhe rrall\u00eb, n\u00eb m\u00ebnyr\u00eb t\u00eb pap\u00ebrsosur, e braktisin veten. Por na tregon gjithashtu se dhembshuria \u00ebsht\u00eb e vetmja pik\u00eb takimi midis njer\u00ebzores dhe hyjnores, e vetmja port\u00eb drejt form\u00ebs s\u00eb vetme t\u00eb p\u00ebrjet\u00ebsis\u00eb q\u00eb mund t\u00eb p\u00ebrjetohet n\u00eb tok\u00eb. Duhet t\u00eb fillojm\u00eb p\u00ebrs\u00ebri nga k\u00ebtu, tani, n\u00eb \u00e7do gjer\u00ebsi gjeografike, duket se paralajm\u00ebrojn\u00eb protagonist\u00ebt n\u00eb sken\u00eb. Vet\u00ebm n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, ndoshta, mund ta gjejm\u00eb p\u00ebrgjigjen e pyetjes: \u00e7far\u00eb \u00ebsht\u00eb dashuria?<\/p>\n\n\n\n

Nj\u00eb kryevep\u00ebr e hetimit t\u00eb z\u00ebrit<\/strong><\/p>\n\n\n\n

Muzikalisht, Michele Mariotti punoi me sakt\u00ebsi skulpturore. Dirigjenti i modeloi v\u00ebllimet me sakt\u00ebsi t\u00eb p\u00ebrpikt\u00eb p\u00ebr t\u00eb krijuar "tingullin e diku tjet\u00ebr", nj\u00eb timb\u00ebr metafizik q\u00eb bie ndesh me cil\u00ebsin\u00eb zanore m\u00eb trupore, tok\u00ebsore t\u00eb "keqb\u00ebr\u00ebsve". "Sepse Lohengrin," thot\u00eb Mariotti, "\u00ebsht\u00eb nj\u00eb p\u00ebrrall\u00eb njer\u00ebzore, nj\u00eb l\u00ebkundje e vazhdueshme midis humner\u00ebs dhe ekstaz\u00ebs, midis dhembshuris\u00eb dhe fatit. Dhe \u00ebsht\u00eb pik\u00ebrisht dhembshuria q\u00eb e shtyn heroin t\u00eb zbres\u00eb n\u00eb bot\u00ebn e njer\u00ebzve. Pak prelude n\u00eb opera kan\u00eb fuqin\u00eb evokuese t\u00eb asaj t\u00eb Lohengrin: nj\u00eb melodi e vetme, nj\u00eb kund\u00ebrpik\u00eb e besuar violinave, nj\u00eb frym\u00eb q\u00eb duket se vjen nga nj\u00eb bot\u00eb tjet\u00ebr." Puna e b\u00ebr\u00eb me k\u00ebng\u00ebtar\u00ebt \u00ebsht\u00eb intensive dhe e realizuar plot\u00ebsisht, ve\u00e7an\u00ebrisht protagonisti Dmitry Korchak, i cili arrin t\u00eb p\u00ebrcjell\u00eb sinqeritetin e mundimsh\u00ebm f\u00ebmij\u00ebror n\u00eb lamtumir\u00ebn prek\u00ebse t\u00eb fundit.<\/p>\n\n\n\n

Karakteri "italian" i oper\u00ebs del nga kjo vep\u00ebr e kujdesshme: jo sepse \u00ebsht\u00eb nj\u00eb Wagner i zbutur, por sepse parimet me t\u00eb cilat form\u00ebsohet materiali muzikor, kujdesi i treguar n\u00eb k\u00ebndim, qart\u00ebsia e frazimit, tensioni dramatik, jan\u00eb t\u00eb gjitha element\u00eb q\u00eb dialogojn\u00eb me tradit\u00ebn ton\u00eb. "\u00cbsht\u00eb nj\u00eb oper\u00eb e pasur me 'koncerta'," shpjegon Mariotti, "e cila k\u00ebrkon disiplin\u00eb kur t\u00eb gjith\u00eb k\u00ebndojn\u00eb dhe ofron stimulin p\u00ebr t\u00eb punuar mbi dinamik\u00ebn, sepse kur z\u00ebrat nd\u00ebrthuren, \u00ebsht\u00eb e nevojshme t\u00eb sqarohet gjithmon\u00eb fabula. Ne punuam shum\u00eb mbi tingullin." K\u00ebng\u00ebtar\u00ebt, s\u00eb bashku me Orkestr\u00ebn e Teatro dell'Opera di Roma, u p\u00ebrball\u00ebn me k\u00ebt\u00eb sfid\u00eb me p\u00ebrkushtim absolut, duke ofruar nj\u00eb Lohengrin q\u00eb vibron me njer\u00ebzill\u00ebk, drit\u00eb dhe mister. P\u00ebrs\u00ebritja e melodive t\u00eb mrekullueshme nxori n\u00eb pah shkatht\u00ebsin\u00eb vokale dhe hap\u00ebsir\u00ebn e madhe t\u00eb l\u00ebn\u00eb p\u00ebr koloratur\u00ebn. Nd\u00ebrsa Ortrude dialogon n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrsosur me orkestr\u00ebn, Elsa ofron nj\u00eb nga momentet m\u00eb t\u00eb larta p\u00ebr sa i p\u00ebrket men\u00e7uris\u00eb dhe emocionit. Melodia prek\u00ebse e braktisjes s\u00eb Els\u00ebs, e cila k\u00ebndon p\u00ebr dashurin\u00eb e v\u00ebrtet\u00eb, gjeneron nj\u00eb shp\u00ebrthim midis k\u00ebng\u00ebtares dhe orkestr\u00ebs, midis Jennifer Holloway e cila e fillon k\u00ebng\u00ebn dhe klarinet\u00ebs e cila e vazhdon at\u00eb.<\/p>\n\n\n\n

\"Lohengrin<\/figure>\n\n\n\n

Skenografia e ndar\u00eb midis s\u00eb tashmes dhe p\u00ebrjet\u00ebsis\u00eb<\/strong><\/p>\n\n\n\n

\u201c"Ne e mor\u00ebm historin\u00eb monumentale t\u00eb Lohengrin dhe e soll\u00ebm n\u00eb dialog me nj\u00eb estetik\u00eb bashk\u00ebkohore", shpjegon skenografi Paolo Fantin. Mesjeta b\u00ebhet k\u00ebshtu nj\u00eb ur\u00eb drejt koh\u00ebs son\u00eb, nj\u00eb gjuh\u00eb q\u00eb i lejon secilit prej nesh t\u00eb njoh\u00eb p\u00ebrvojat, plag\u00ebt dhe pritjet e veta n\u00eb simbolik\u00ebn e hapur t\u00eb sken\u00ebs. Nuk \u00ebsht\u00eb mjellma q\u00eb udh\u00ebheq heroin, por Lohengrin ai q\u00eb t\u00ebrheq zvarr\u00eb nj\u00eb arkivol t\u00eb bardh\u00eb t\u00eb gdhendur me imazhin e tij. Arkivoli p\u00ebrmban trupin e Goffredo-s s\u00eb ri, v\u00ebllait t\u00eb humbur prej koh\u00ebsh t\u00eb Els\u00ebs. Miti k\u00ebshtu thyhet, humanizohet dhe b\u00ebhet nj\u00eb rr\u00ebfim zie dhe shprese. Materiali skenik ndjek t\u00eb nj\u00ebjt\u00ebn rrug\u00eb drejt s\u00eb tashmes, nga druri q\u00eb rrethon komunitetin dhe transformohet n\u00eb nj\u00eb sall\u00eb gjyqi, deri te argjendi i shkrir\u00eb (nj\u00eb substanc\u00eb e krijuar posa\u00e7\u00ebrisht p\u00ebr Oper\u00ebn) q\u00eb prezanton nj\u00eb dimension t\u00eb bot\u00ebs tjet\u00ebr. N\u00eb qend\u00ebr t\u00eb sken\u00ebs \u00ebsht\u00eb nj\u00eb vez\u00eb, q\u00eb simbolizon origjin\u00ebn dhe misterin, por edhe dyshimin q\u00eb do t\u00eb shkat\u00ebrroj\u00eb dashurin\u00eb midis Els\u00ebs dhe Lohengrin. S\u00eb pari vjen martesa midis njer\u00ebzores dhe hyjnores, e shprehur n\u00eb rrath\u00ebt e argjendt\u00eb; pastaj veza thyhet, duke e verbuar Els\u00ebn, dhe materia tok\u00ebsore shkat\u00ebrrohet, duke hequr t\u00eb gjitha kontrollet dhe sigurit\u00eb. Asgj\u00eb nuk \u00ebsht\u00eb m\u00eb e fort\u00eb. Vet\u00ebm drita verbuese e mbinatyrshmes mbetet, t\u00eb cil\u00ebn vet\u00ebm nj\u00eb f\u00ebmij\u00eb mund ta duroj\u00eb. Pafaj\u00ebsia k\u00ebshtu b\u00ebhet i vetmi shikim i aft\u00eb p\u00ebr t\u00eb par\u00eb.<\/p>","protected":false},"excerpt":{"rendered":"

La nuova stagione del Teatro dell\u2019Opera di Roma si apre con un gesto di forza e di visione: Lohengrin torna al Costanzi dopo cinquant\u2019anni e per la prima volta in tedesco.  Il Wagner romantico si colloca, dunque, al centro di una scena romana ormai pienamente reinserita nel circuito internazionale.  Di Rosalba Panzieri Richard Wagner scrisse musica […]<\/p>\n","protected":false},"author":16,"featured_media":6541,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","iawp_total_views":12,"footnotes":""},"categories":[446],"tags":[],"class_list":["post-6540","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cultura-2"],"_links":{"self":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6540","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/comments?post=6540"}],"version-history":[{"count":1,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6540\/revisions"}],"predecessor-version":[{"id":6545,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6540\/revisions\/6545"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media\/6541"}],"wp:attachment":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media?parent=6540"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/categories?post=6540"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/tags?post=6540"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}