Silvia Colasanti's 'La Metamorfosi',
experienced by GIUSEPPE PENNISI
A new generation of Italian composers is emerging, even though their works seem to be appreciated abroad more than in the home country. For instance, La Ciociara by Marco Tutino is scheduled to open the San Francisco season and his previous work Senso [For King, Country and Sex, 5 February 2011] has had a successful debut in Palermo and is now in the Warsaw National Opera House repertory but has not been shown in other Italian theatres. An exception may be La Metamorfosi ('Metamorphosis') by the young Italian composer Silvia Colasanti (born in 1974), a professor at the Perugia Conservatory and already well-known in Italy as well as in other European countries, in the USA and in Asia.
La Metamorfosi has the qualities to appeal to an international audience and has had a very good reception in Italy. It was a commission by the Maggio Musicale Fiorentino Festival where the 'opera on human loneliness in three parts', as it is subtitled, had a few performances in 2012. It pleases critics and audience and it is back for a new and larger round of performances. As the Florence opera house (with three different theatres) is gradually changing from a 'season' system to a repertory or semi-repertory pattern (to increase productivity and attract tourists), La Metamorfosi may very well become a staple in the city and be exported to other relatively small theatres. It is conceived for the Teatro Goldoni, a small (with some 450 seats including boxes and upper tier) and very classy opera house, but with a deep stage. I saw and heard La Metarmofosi at the 7 March 2014 preview.