Interview with Poda

A conversation with the stage-manager Stefano Poda, who directed "Trittico" at the Colon.

With every production he creates an overall picture that he works out himself: stage management, décor, light, choreography! The spiritual journey of Thais!

Rarely, we have the possibility to meet the stage manager when there is a new production, because generally he is leaving the ensemble after the premiere. This was not the case with stage manager Poda, because he was staying in Torino for every performance.

The Teatro Regio di Torino has called on this Italian artist for the opera Thais from Massenet.

"During my stay in Torino, where I attended the performance with the two casts, I regularly met this great artist and we could exchange views about this production."

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Stefano Poda was born in Trento. He débuted in Rio de Janeiro, where he worked as assistant of Beni Montresor.

Poda worked in various theatres all over the world.

His big début as stage manager (décor, costumes) was at the teatro San Carlo in Lissabon fin 1995 with Mozart’s opera Don Giovanni with Carlos Alvarez in the star part.

This performance was broadcasted on television and his work received a lot of success with the audience and had very good reviews.

His work speaks well for his great intelligence and proves that he gives serious consideration to the story, the music, the philosophy, the expression and the photographic project.

He worked with many great singers in the world of the opera:

- Samson and Dalila: with Dolora Zajick in 1995
- Nabucco: with Giorgio Zancanaro in Lissabon 1995
- Traviata: with Carlos Alvarez as father Germont
- Die Zauberflöte: with José Bros as Tamino
- Etc…


Some pictures representing the vision of Poda for Verdi’s Aida

Back to the production of Thais in Torino:

Q: Before you start working on Thais, how do you see the two star parts Thais and Athanael?”

PODA:

The two personalities are very complex, but they have both their own story to live and their paths are crossing but they do not meet each other.

The epilogue is showing that the meaning of life in one big mystery.

In an opera, the artists do not talk, but are only singing.

The characters do not have a body, but only movements and thoughts.

In an opera the meaning of live stands on a very high level and is becoming more abstract.



Q: You are very special, but you also have a genius for your way of thinking. How long does it take to do a new production?

PODA:

Well, I first listen to the music.

As a housebreaker who wants to open a safe, I wait for the CLICK.

This comes sometimes spontaneously as in the case of Thais, but it also happens that I need more time.

At that moment, I close my eyes while I am listening to the music and the work can start.

I translate my ideas into practice and I make sketches and technical drawings.

This is a very important moment because at that particular moment I can see if my vision is aesthetically justified.

It is fundamental that every detail gives out the same concept!

I always look to the external reality and work it out the way I see.

For the costumes I worked together with Mrs. Santoria Tirelli and our co-operation was fantastic.

This house, located in Rome, is specialised in the making of customes for movies and opera productions.



Below, you see some creations for the opera Thais.

Thais is wearing the costumes during the performance.

Q: Stefano, I have seen your production. May I suppose that the curtain of the opera is like a mirror?



Stefano’s answer is firm:

PODA:

Correct! That’s the way it is! It is the key to my work.

The audience has to be his own audience!

The real protagonist is the audience that is interpreting the symbols in accordance to its own intellectual faculties.

In my work, everybody is watching their own feelings.


Q: Many of your characters are nearly naked. What is the meaning and how do you see the nudity?

PODA:

First I want to say that there is a great difference between nudity and sensuality.

In reality, it is very difficult to know the reality.

The naked bodies appearing in the scene of the convent represent the souls as for the illustrations of the Divina Comedia.

The choreography evocates the decadence, the fear and the despair, but is never erotic.


Together with Poda on stage




The activity on stage is progressing smoothly. There are no rough movements from the soloists and from the chorus. This is something very thrilling such as when Thais is going to the convent after Athanael brought her to that place. This is the most thrilling moment of the performance!!! A Spanish newspaper has called Stefano “THE REAL MAGICIEN!”


During one of our various conversations, I realised that the ideas of Stefano about the stage management would be highly appreciated by Maria Callas. Stefano answered:

“Callas was a phenomenon. She was a great artist and had a great personality!”

At the same period that Thais was played in Torino, this opera was also performed at the Metropolitan opera with Thomas Hampson and Renée Fleming.

A reporter wrote a review for La Stampa:

“The production of Poda was abstract and visual much better staged than the banality of John Cox at the Met!”

This is a wonderful compliment.

Below, pictures of two other productions. Left Mefistofele and right Orfeo!

I thanked Stefano for the explanation about his unforgettable régie and we agreed to meet in Liège for the opera Falstaff as this is the opera is near to your heart!