PRESS

CAMILLO TORRES. CAMERA DEL LAVORO DI MILANO: 

"...grazie all’efficace impianto registico di Lisa Nava – stimolano un ascolto attivo e facilitano la comprensione dell’evoluzione della drammaturgia. L’impresa è particolare e difficoltosa, certo, ma c’è almeno un perno su cui far leva: la concezione di Camilo Torres come teatro d’avanguardia, immerso in un’aura di astrazione, con l’aleggiare sulla partitura di alcuni concetti particolarmente rilevanti per la musica d’arte italiana tra la fine degli anni ’50 e i primi anni ’80 come quello di opera aperta o di work in progress. La natura non esclusiva e con importanti rarefazioni di Camilo Torres sia come titolo sia come oggetto sonoro concede un generoso spazio di manovra a questa operazione intelligente e di grande raffinatezza, che peraltro riesce a restituire in modo eccellente il clima di quella che è stata l’esperienza musicale degli anni Settanta, con o senza teatro [...] In un momento storico in cui la musica d’arte del passato recente soffre sempre più la scomparsa dalle sale da concerto e dalle tavole teatrali, un’operazione come quella di Alberti e Nava è assolutamente meritoria e ci si augura venga riproposta anche in altri contesti." 

"...thanks to the effective direction by Lisa Nava – they stimulate active listening and facilitate the understanding of the dramaturgy’s evolution. The undertaking is certainly unique and challenging, but there is at least one fulcrum to leverage: the conception of Camilo Torres as avant-garde theatre, immersed in an aura of abstraction, with certain concepts hovering over the score that were particularly significant for Italian art music between the late 1950s and early 1980s, such as that of the open work or work in progress. The non-exclusive nature and significant rarefactions of Camilo Torres, both as a title and as a sonic object, provide generous room for maneuver in this intelligent and highly refined endeavor, which manages to excellently capture the atmosphere of what was the musical experience of the 1970s, with or without theatre [...] In a historical moment when art music from the recent past is increasingly disappearing from concert halls and theater stages, an operation like that of Alberti and Nava is absolutely commendable, and one hopes it will be presented again in other contexts."

- OperaClick  

Luca Fialdini

BATACLAN. TEATRO LIRICO SPERIMENTALE. SPOLETO: 

 "(...) Il nuovo allestimento del Teatro Lirico Sperimentale di Spoleto - grazie ad un cast di brillantissimi cantanti-attori, alla fantasia registica di Giorgio Bongiovanni e Lisa Nava, nonchè al sapiente pianoforte di Mariachiara Grilli - compie il miracolo di trasformare la semplicità in leggerezza e l'essenzialità in divertissment. ..." 

"(...) The new production of Spoleto's Teatro Lirico Sperimentale - thanks to a cast of brilliant singers-actors, the fantasy of the staging by Giorgio Bongiovanni and Lisa Nava, as well as the wise piano of Mariachiara Grilli - performs the miracle of transforming the simplicity in lightness and essentiality in divertissment ... "

- la Repubblica

Guido Barbieri 

FERROVIA SOPRELEVATA. PICCOLO TEATRO STUDIO. MILANO:

"... uno spettacolo molto bello, intelligente, raffinato, fatto con idee più che con mezzi ..."

"... a very beautiful show, intelligent, refined, made with ideas rather than with means ..."

  - Radio RAI 3 Suite

“…Il tutto in simbiosi con la variegata azione scenica, diretta da Lisa Nava, fatta di voci recitate, effetti sonori, canzoni ed efficaci inserti coreografici. Già alla prova generale (su cui si basa la mia recensione) lo spettacolo risultava avvincente, forse un po’ troppo lugubre (mi è un po’ mancata la cifra visionaria del buzzatiano "Poema a fumetti" in cui ritornano alcuni motivi presenti nella "Ferrovia sopraelevata"), ma pertinente e preciso, come per altro la musica di Chailly. D’altronde, il valore aggiunto di un’operazione “anomala” come questa sta nella sensazione (rara) di libertà dai soliti schemi che riesce a comunicarti e nell’approccio “di gruppo” che ti coinvolge e ti convince. Grazie a tutti.”

“…All in symbiosis with the varied stage action, directed by Lisa Nava, made up of recited voices, sound effects, songs and effective choreographic inserts. Already at the dress rehearsal (on which my review is based) the show was compelling, perhaps a little too gloomy (I missed the visionary figure of the Buzzatiano "Poema a fumetti" in which some motifs present in the "Ferrovia elevated "), but pertinent and precise, like Chailly's music. On the other hand, the added value of an "anomalous" operation like this lies in the (rare) feeling of freedom from the usual patterns that it manages to communicate to you and in the "group" approach that involves and convinces you. Thank you all.”

RECENSIONE CLASSICA

12 GIUGNO 2009

Emilio Sala

Riscoprire Luciano Chailly

HÄNSEL UND GRETEL. NATIONAL OPERA AMERICA, NEW YORK:

New York. Monday, June 25, 2018

"A friend we invited to attend Engelbert Humperdinck's Hänsel und Gretel expressed disinterest in "a children's opera". We couldn't help wondering whether that misconception has kept this marvelous opera from being on the "Top Ten" list of operas. Would we call Cenerentola or Cendrillon "children's operas" because they too are based on fairy tales?"...Manhattan Opera Studio's excellent intimate production last night at the National Opera Center. (...) Manhattan Opera Studio is a fine addition to the New York opera scene. [...] Stage Director Lisa Nava substituted imagination for money, leaving the audience to do some mental work, a good thing in our book."   

- Voce di Meche -

DIE WALKÜRE. SAINT JEAN THEATRE. NEW YORK.

New York. Monday, July 29, 2019

"We will never forget the first time we saw Richard Wagner's Die Walküre at the Metropolitan Opera; the Otto Schenk production emphasized the mythological character of the story. We were privileged to see this version a few times before it was retired in favor of the present post-modern variation (not a favor, thank you very much) which alienated us completely. We would prefer to see it without any production values whatsoever and that is exactly what we got last night from Manhattan Opera Studio. [...] We consider the evening a total success. The five hours seem to fly by. (...)  Much credit for the success of this production goes to Stage Director Lisa Nava whose direction emphasized the interaction of the singers."       

- Voce de Meche -

DIE ZAUBERFLÖTE. WEILL RECITAL HALL, CARNEGIE HALL. NEW YORK:

New York. December 2015

"The recital-style performance in the gorgeous setting of the Hall (in use since the Carnegie’s opening in 1891) was a wonderful experience. Seeing the singers so close is something you don’t get exposure to in the cavernous Lincoln Centre and I also enjoyed being able to watch pianist and conductor Michael Wittenburg, who was onstage alongside the actors."

- The Secret Victorianist

NOVE MINUTI DI LUCI E MUSICA. PIAZZA CERMENATI. LECCO: 

December 03, 2010

Poème électronique

"...comments the councilor Michele Tavola who postponed the departure for Paris to see the show by one day - I find that it was an unprecedented show for Lecco city and I hope to be able to continue to collaborate with the 'association given the validity' of the proposal. "

"...trovo che sia stato uno spettacolo inedito per Lecco e mi auguro di poter continuare a collaborare con l’associazione vista la validità della proposta.” 

- La provincia di Lecco