„ In „Coephoroi” and „Eumenides” Daniele Salvo relies on paroxysmal, exasperated, vocal and physical expressiveness. At the beginning of the tragedy the Chorus of coephoroi accompany Electra (Francesca Ciocchetti) to the grave of her father, achieving a strong visual and emotional impact.
The atmosphere is tense and solemn; the grief of Trojan slaves dressed in black garments and veils blends with the despair felt by the young daughter of Agamemnon in a riotous sound mixture, supported by the complex musical symphony created by Marco Podda: archaic echoes and classical tonalities in an amalgam that evokes a cinematic feel.
Later, pursing the emotional peak which is the openly declared stylistic approach chosen for his staging, the director follows an ascending climax, up to the point of breaking one of the taboos of Greek theatre: murder taking place on stage. Orestes (Francesco Scianna) slaughters his mother (Elisabetta Pozzi) in front of the spectators.
The appearance of the Erinyes, dressed in a leotard that makes them look like colourful skeletons, adds more fuel to the wildfire of violence and fury.And so the play reaches its last act, in which Eumenides represents the founding of western justice as an overcoming of the archaic law of retaliation.”
The 50th Season of Classical Plays at Syracuse’s Greek Theatre:
Aeschylus’s Oresteia and Aristophanes’ Wasps
L Ciclo di Spettacoli Classici Teatro Greco di Siracusa Syracuse, Italy
Reviewed by Caterina Barone University of Padova