Intolleranza 1960 Tickets

Theatro Municipal (São Paulo), Sao Paulo, Brazil

Scene 1 from the opera "Intolleranza 1960"

Scene 2 from the opera "Intolleranza 1960"

Scene 3 from the opera "Intolleranza 1960"

All photos (3)

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Important Info

Type: Opera

City: Sao Paulo, Brazil

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

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Overview

More than an opera, Intolleranza was described by its author, the Italian Luigi Nono, as a "scenic action," thus opening up the range of possibilities for its staging and interpretation, now entrusted to the direction of Nuno Ramos and Eduardo Climachauska.

Composed post-war, still reeling from the wounds of Italian fascism and the atomic bombing of Hiroshima, the work exudes a sense of urgency that resonates with our time with freshness and naturalness. It is probably the musical work in which elements of collective speech—such as overlapping shouts and phrases, simulating a dispute in a public square—came closest to the musical material itself. This is its profound meaning: the reconfiguration and multiplication of this public dimension of life, whose assault and destruction we witness today.

The libretto, also written by Nono, interweaves a variety of documentary and poetic references , from Henri Alleg to Jean-Paul Sartre, Paul Éluard and Vladimir Mayakovsky, concluding with a poem by Bertolt Brecht. In a single act divided into two parts, the plot tells the story of a miner who returns to southern Italy, his homeland, after having migrated in search of better working conditions. Along the way, he faces oppression, imprisonment, and torture.

The work is dedicated to Arnold Schönberg, from whom Nono inherits elements of serialism, but also draws on the work of Karlheinz Stockhausen, a friend and colleague of Nono, and Pierre Boulez, utilizing new compositional methods such as electronic music, speakers, amplifiers, and tapes, all in dialogue with elements of the traditional symphonic apparatus, such as the choir and the orchestra itself. It is important to remember that Intolleranza will make its debut not only in Brazil, but throughout Latin America.

The stage direction will be by Nuno Ramos and Eduardo Climachauska, artists with remarkable careers in the visual arts and contemporary creation, who have also explored the power of stage direction as an expanded field of expression.

Nuno Ramos is a painter, illustrator, sculptor, writer, filmmaker, set designer, and composer. He works with sensory and poetic languages, marked by the dialogue between matter and word. Eduardo Climachauska is a composer, actor, filmmaker, and visual artist. Over the past 30 years, working solo or in partnership, he has directed and acted in films, videos, plays, created installations, performances, works in different media and formats, and exhibited in museums, cultural institutions, and art galleries.in Brazil and abroad, he recorded original music albums, in addition to having compositions recorded by other artists, carried out art direction, sets and costumes for theater, as well as giving classes and lectures.

History

Premiere of this production: 13 April 1961, La Fenice, Venice

Intolleranza 1960 (Intolerance 1960) is a one-act opera in two parts by Luigi Nono, and is dedicated to his father-in-law, Arnold Schoenberg. The plot concerns a migrant, who travels from Southern Italy looking for work. Along the way, he encounters protests, arrests and torture. He ends up in a concentration camp, where he experiences the gamut of human emotions. He reaches a river, and realises that everywhere is his home. The opera premiered on 13 April 1961 at the Teatro La Fenice in Venice.

Synopsis

Setting: Fictional place in the present

Part one

Opening chorus (Coro iniziale)

Instead of an overture, a large-scale a cappella chorus, "Live and be vigilant", is heard from behind a closed curtain.

1st scene: In a mining village

A migrant is tired of the hard work in the mines in a foreign land. He is consumed by desire to return to his homeland from which he once fled.

2nd scene: A woman rushes in

A woman who had given the stranger in the mining village warmth and peace and love, tries to persuade him to stay. When she realizes that her lover is determined to go, she insults him and swears revenge. Nevertheless, she leaves with the migrant.

3rd scene: In a city

He has reached a city while a large unauthorized peace demonstration is taking place. The police intervene and arrest some demonstrators, including the migrant, although he was not participating in the rally. His attempt to defend himself remains unsuccessful.

4th scene: in a police station

Four police officers set to work to force the prisoners to confess. The man, however, stands firm to his story that he was on the way to his home, which goes through the city, and he therefore had nothing to confess.

5th scene: The torture

All those arrested are brought to torture. The chorus of the tortured cries to the audience, asking whether it was deaf and would behave just like cattle in the pen of shame.

6th scene: In a concentration camp

The chorus of prisoners desperately cries for freedom. The four policemen taunt their victims. The hero makes friends with another prisoner from Algeria. They plan to escape together.

7th scene: After the escape

The migrant manages to escape with the Algerians from the concentration camp. While originally it had been only his wish to see his home, now his heart burns only with the desire for freedom.

Part two

1st scene: Some absurdities of contemporary life

From all sides voices press upon the hero, voices which not only disturb and confuse him, but almost overpower him. The absurdities of contemporary life, such as the bureaucracy – for example, "registration required", "Documents are the soul of the state", "certify, authenticate, notarize" – and sensational newspaper headlines like "mother of thirteen children was a man" increase, and the scene ends with a big explosion.

2nd scene: a meeting between a refugee and his companion

A silent crowd suffers from the impression of the slogans and the explosion. When a woman begins to speak out against war and disaster, it appears to the emigrant as a source of hope in his solitude. Henceforth, the two want to fight together for a better world.

3rd scene: Projections of episodes of terror and fanaticism

To the hero appears the woman he has left in the mining village, and this confuses him. Together with his companion (compagna) he sends her away. Then the woman transforms herself along with a group of fanatics into ghosts and shadows. In the dream, she sees the migrant, the mine, the mocking slogan "Arbeit macht frei" over the entrance of the camp, and she sees the nightmares of the intolerance he holds with his companion, "Never, never again". The choir sings Mayakovsky's "Our march".

4th scene: In the vicinity of a village on the banks of a great river

The hero and his companion have reached the great river, which forms the border of his native country. It is flooding; its level increases more and more. The deluge swallows roads, broken bridges, barracks, and crushes houses. Even the migrant and his companion are unable to save themselves. They die an agonizing death.

Final chorus (Coro finale) set to excerpts from Brecht's poem "To Posterity", again without orchestral accompaniment.

Venue Info

Theatro Municipal (São Paulo) - Sao Paulo
Praça Ramos de Azevedo, s/n

Welcome to one of Brazil's greatest opera houses. Theatro Municipal de São Paulo doors open to the city and the world, a stage prepared to create and deliver memorable and accessible experiences, welcoming classical and contemporary artistic expressions.

The luxurious building, visibly influenced by European opera houses, was built as an aspirational symbol of São Paulo's high society, which, with the abundance of the coffee cycle, desired a performance venue worthy of its European wealth and ambitions to host the great artists of lyrical music and theater.

The project, designed by the Ramos de Azevedo firm—in collaboration with Italians Cláudio Rossi and Domiziano Rossi—began in 1903 and was handed over to the city eight years later. In September 1911, the Municipal Theater opened to distinguished guests before a crowd of 20,000 people, dazzled by the pomp and spectacular lighting for the time—the building was the first to be fully powered by electricity.

The Municipal's stage featured the most important companies of the first half of the 20th century, featuring names such as Enrico Caruso, Maria Callas, Bidu Sayão, Arturo Toscanini, Camargo Guarnieri, Villa-Lobos, Francisco Mignone, Ana Pawlova, Arthur Rubinstein, Claudio Arrau, Duke Ellington, Ella Fitzgerald, Isadora Duncan, Nijinsky, and Baryshnikov, among many others. Always extending beyond the classical scene, it crowned its cosmopolitan vocation by hosting one of the most important events in the history of the arts in Brazil, the SEMANA DE 22 (WEEK OF '22), featuring Mário and Oswald de Andrade, Anita Malfatti, and many other celebrated young artists who launched the Brazilian modernist movement.

In its over 100-year history, three major renovations have preserved, renovated, and expanded the Theater, which now boasts a restored building. In 2012, the Praça das Artes facility was created to house artistic groups, the municipal music and dance schools, and the multiple activities of the Municipal Theater Complex.