Jesus Christ Superstar arrives at the Sistina from 17 April
The opera has entered into myth, and that myth, Piparo explains, 'should absolutely not be desecrated, re-interpreted, elaborated: it should be respected, paid homage to, celebrated'.
by N.Co.
2' min read
Key points
2' min read
Easter sees the arrival at the Sistina Theatre of "Jesus Christ Superstar", one of the most famous rock operas, on stage from 17 April in the historic original language version by director Massimo Romeo Piparo. Andrew Lloyd Webber and Tim Rice's masterpiece has a spectacular staging, powerful music and conveys a revolutionary message of brotherhood through the story of Jesus' passion, now more relevant than ever: it is a concentration of beauty and energy that crosses all boundaries.
The cast on stage
.The show, in English, with a live orchestra conducted by maestro Emanuele Friello, produced by PeepArrow Entertainment, will feature a talented cast on stage: Luca Gaudiano in the role of Jesus, Beatrice Baldaccini (Mary Magdalene), Feisal Bonciani (Judas), Luca Buttiglieri (Herod), Claudio Compagno (Pilate), Giorgio Adamo (Simon), Mattia Braghero (Hannas), Davide Tagliamento (Caiaphas), Gianluca Pilla (Peter) and a rich cast of artists including dancers, acrobats, stilt-walkers and fire-eaters.
Over two and a half million viewers
.Constantly rewarded by audiences and critics, the Piparo version of the musical boasts 31 years of success, with more than 1,600 performances, 190 artists who have alternated in the cast, more than 2.5 million spectators, 12 consecutive years on the bill in Italian theatres from 1994 to 2006. It also won the prestigious Musical World Award, one of the most authoritative international awards in the field of musicals. Piparo also performed the 'miracle' of reuniting the original protagonists of the 1973 cult film on the Italian and European stages: first Carl Anderson-Giuda and later Ted Neeley-Jesus, Yvonne Elliman-Maddalena and Barry Dennen-Pilato.
Piparo, Webber and Rice's work has entered the myth
."Reading the Gospels, it seems almost taken for granted," emphasises Massimo Romeo Piparo, "that the background music should be Rock. That the most suitable setting is a desert with some static architectural elements animated only by the power of music. That the most appropriate era for their performance is the 1970s. Yet before Jesus Christ Superstar this was not the case. That is why Webber and Rice's opera has entered into myth. And that myth should absolutely not be desecrated, re-interpreted, elaborated: it should be respected, paid homage to, celebrated'.
