Paolo Bosisio has always been, for me, a colleague in the university. One of the most brilliant: philologist, theatre historian, but also a great organizer of culture. When he suddenly retired I asked myself – why did Paolo Bosisio have all this desire to leave? It took me some time to understand that the main reason (I am not saying the only one) was the possibility of devoting more time to the stage direction. For Bosisio, the opera theatre was a return to origins: when, from the age of six, he began to be a habitual spectator of opera, following his melomaniac grandmother on his father’s side, owning a box at La Scala. In dramatic theatre the director may have his own poetics, because (if he is a valuable artist and not a simple employee of the entertainment industry) he can more or less choose the texts closer to his sensitivity, but the opera director fatally arrives the last in a project already previously defined (by the musical institution, by the artistic direction, by the conductor). Our Bosisio essentially wants his audience overwhelmed by music and verse: maybe wishing to rediscover his own experience as a young spectator accompanying his melomaniac grandmother to La Scala. (Roberto Alonge Full Professor, University of Turin, Italy).
IN THIS ISSUE: Text by Roberto Alonge. Contributors by Paola Ranzini, Cristian Sandu, Sorin Pepinu.